Judith Leiber Handbags: Art on the Red Carpet

NEW YORK – Chronicling the career of Hungarian-American accessory creator Judith Leiber, who died on May 28 at the age of 97, the Thames and Hudson Dictionary of Fashion and Fashion Designers wrote, “…it is her whimsical rhinestone-studded evening bags, often crafted in the form of minaudieres, which have brought her lasting fame. Brightly colored, small-scale and delicate yet sturdily engineered, they are covered with handset Austrian crystal and semiprecious stones, duplicating flora and fauna.”

Movie stars flash them on the red carpet, president’s wives carry them to the inauguration ball, and collectors snap them up at vintage couture and jewelry auctions across the country. While the head might argue that you can get by with just one, the heart knows that you can never have too many of these glittering minibags in a hundred clever forms; one leads to another and a collection grows. The whimsical designs of the minaudieres are far too charming to keep in a drawer.

The form seems to have been developed by jewelers; Charles Arpels made one for socialite Florence Gould in the 1930s. The lip-smacking name “minaudiere” comes from a French term for silly little trifle, and the small size of the Leiber examples – dimensions under 6 inches – means only a few necessary items can be carried within. The artist designed elegant leather handbags for daywear, but the evening bags completely covered with handset crystals and semiprecious stones attract the most attention.

Judith Leiber bags from a 300-piece collection assembled by Louisiana philanthropist Bernice Norman were sold in a landmark 1999 charity auction to benefit the New Orleans Museum of Art.

Judith Leiber was present for the sale, hosted by New Orleans Auction Galleries, and even purchased some of the purses back to put in her personal museum. The minaudieres, as opposed to the also very desirable “day” bags, brought the most money. Those featured in the book Judith Leiber: The Artful Handbag (1995) by Edith Nemy sold for even more.

Judith Leiber’s interest in Asian art is reflected in this crystal-studded Buddha design sold at a Bruce Kodner auction in Lake Worth, Florida. It is 5 1/2 inches high.

Judith Leiber, nee Peto, was born in Budapest in 1921. Her hopes of studying chemistry in London were thwarted when war broke out in 1939. She joined the Hungarian handbag guild and worked her way up to master status, learning every aspect of construction. Her family survived the war, and at its conclusion she met and married American G.I. Gerson Leiber. After moving back to New York, she exercised her expertise at several accessories firms before founding her own in 1963.

Her designs received a number of prestigious awards. Fashionable stores carried the bags, and the New York Times did a lengthy story on Leiber in May 1996 after she opened her own boutique on Madison Avenue. Christine Cavanaugh, the actress providing a voice for the central character in the movie Babe, had carried a jeweled pink pig minaudiere on the Oscar red carpet that year. Judith Leiber is now retired from active designing, but the firm bearing her name continues to produce both old and new shapes, which are carried in stores such as Saks Fifth Avenue, Neiman Marcus and Bergdorf Goodman.

Leiber drew inspiration from many sources; the dragonfly on this 1992 minaudiere in the Leiber Collection Museum is similar to the winged creatures on classic Tiffany lampshades. Courtesy the Leiber Collection; photo credit Gary Mamay.

Judith Leiber evening bags were always luxury items intended for wealthy partygoers who wanted their outfits to be noticed; new creations with the brand name easily bring $5,000 or more. So vintage examples can be viewed as an opportunity to acquire something marvelous at a reasonable price.

Minaudieres are equipped with a concealed shoulder chain, which can be used to carry the evening bag. This rare Venetian mask design was auctioned by Bruce Kodner Galleries.

Most Judith Leiber evening bags have been well cared for and retain their original accessories – a coin purse, standing mirror, tasseled comb, and soft storage bag.

This violin-form minaudiere covered in Swarovski crystals came complete with original coin purse, comb, and mirror. The evening bag sold at New Orleans Auction Galleries.

Some Judith Leiber evening bags still have the store’s price tag and the designer’s certificate of authenticity. Restoration services are available if stones are missing from their settings.

The Museum at FIT, the Fashion Institute of Technology in New York City, has around 45 Judith Leiber bags in their permanent collection, including this bright 1994 tomato minaudiere design.

There, students can examine how the bags are constructed. Colleen Hill, associate curator of accessories, said in a recent interview, “There are a lot of whimsical handbag styles throughout the 20th century. Although Leiber did do many different styles of bags, these jeweled minaudieres were what she was especially well known for – they’re conversation pieces. The craftsmanship is absolutely the thing that I like to point out. Everything is really perfect, everything lines up exactly.

“For true luxury items like these Judith Leiber bags, you have to look closely at them,” Hill continued. “You have no visible glue, everything is fitting together perfectly, they’re almost objects of art in their own way. You can imagine how they’ve become collectors’ items – they’re more than just something to carry to a fancy party, they’re really something that can be admired as an object as well as an accessory. It’s very apparent that these are not things that are machine-produced and just replicated exactly time after time, which adds to their one-of-a-kind appeal.”

In one of its past sales, Dallas Auction Gallery offered this 6-inch “Sleeping Lion” minaudiere covered with tawny crystals and multicolored cabochon hardstones.

The form of Japanese inro, a container for small objects hung from a sash, inspired this tripartite beaded minaudiere with red silk cord and a gold leather lining. The colorful purse starred in a DuMouchelles auction in Detroit.

In 2005, Leiber and her husband Gerson, who was a Modernist artist, opened their own museum and sculpture garden in the East Hampton village of Springs, New York, near the tip of Long Island. (www.leibermuseum.org). Works by both artists – including many handbag designs – are on view in the galleries and a history of their entwined careers can be found in No Mere Bagatelles: Telling the Story of Handbag Genius Judith Leiber & Modernist Artist Gerson Leiber by Jeffrey Sussman (2009).

This article, written by Karla Klein Albertson, originally appeared in Style Century Magazine, now part of Auction Central News (www.auctioncentralnews.com).

Jasper52 book auction May 9 recounts the Civil War

America’s foremost historians recount the American Civil War in a large collection of books on the subject that will be sold Wednesday, May 9, by Jasper52. Leading the charge is Margaret E. Wagner’s 752-page book titled The American Civil War: 365 Days, which features more than 500 items drawn from the collections of the Library of Congress.

The American Civil War: 365 Days’ by Margaret E. Wagner, first edition, published by Harry N. Abrams, hardcover, 752 pages. Estimate: $25-$50. Jasper52 image

View the auction.

Learn more about the auction on Auction Central News.

Life’s former necessities surface in antiquities auction May 9

Many necessities of life in ancient times are offered in a Jasper52 Antiquities and Ancient online auction to be held Wednesday, May 9. Rare objects from ancient Egypt, Rome, Greece and beyond will be up for bid. The selection includes sculptures, amulets, figures, vessels and weapons.

Apulian red figures lekythos, Greek, circa 350-300 B.C., terra-cotta, 7 5/8 inches high (19.5 cm). Estimate: $1,000-$2,500. Jasper52 image

View the auction.

Learn more about the auction on Auction Central News.

How to Preserve Antique Maps

“Maps are a universal medium for communication, easily understood and appreciated by most people, regardless of language or culture,” said revered American geologist Daniel F. Merriam.

Throughout the history of humanity people have been going to or coming from some place. It’s a shared experience, if not physically, certainly intellectually. In some cases, that shared experience has contributed to maps. Most often today, it’s a digital map of some type that guides people in their travels. However, not so long ago printed maps were a daily part of life, and a folded paper map could be found in the glove compartment of nearly every vehicle on the road. Schoolchildren could expect to see a map of the world in their classrooms.

Map with a view of various sections of Alabama and West Florida, created by John L Tourette in the fourth quarter of the 18th century. It features various sections of the area in map in separate segments. Sold for $35,000 in February of 2017. Image by Neal Auction Company and LiveAuctioneers.

Today, antique and vintage maps are objects appreciated by collectors, historians, artists and academics, among others. To learn the ins and outs of collecting maps, see the archived article Collecting Old Maps, featuring expertise from Jasper52’s resident map expert Steve Kovacs.

Once again we turn to Steve for insight on the correct way to conserve old maps so they can remain intact and beautiful for future generations to enjoy.

Does the type of materials the map is printed on make a difference in whether or how quickly a map may deteriorate? Is it true some of the earlier maps, made of a paper with a fiber core, fare better over time than some made from more modern elements? 

The nature and quality of the paper substrate (n.b. – underlying layer of material) on which the map is printed are among the most important factors impacting the long-term condition of the map. Interestingly, older maps, primarily pre-1800, are more likely to maintain their condition, given that they were usually made of linen rags or flax with longer fibers and were low in acid-producing lignin content. With the ever-growing demand for paper to make maps, books and newspapers, by the early to mid-1800s the industry increasingly turned to a much cheaper paper source, wood pulp. Wood-based paper unfortunately has shorter fibers and much more lignin, which is a natural part of the wood structure. In turn, lignin will give off organic acids upon exposure to air and light, and these acids cause yellowing, browning and brittleness to the paper over time.

What are some of the most common issues impacting the condition of a map, and what are some specific steps one can take to avoid each?

As with paper in general, moist or wet conditions, large temperature fluctuations, UV light, oxygen in the air, and pests (worms, insects, rodents) can all contribute to the degradation of the paper itself or the pigment or dye in colored maps. Aside from handling abuses or crayon or ink markings, most condition issues are caused by these environmental factors. Moisture in combination with higher temperatures often causes mildew to develop. UV light and oxygen can cause foxing (reddish-brown spots), yellowing, browning and brittleness, especially in paper made of wood pulp, and degrade some pigments and dyes, thus changing or fading the colors.

To mitigate these potential issues, some common-sense steps in storage or display should be exercised, as outlined in the next section. Also, if the map is dear to you, consider cleaning and professional de-acidification – a simple washing process – to minimize any further yellowing, browning or brittleness that might otherwise occur.

The Museum of Old Maps is located in Bucharest, Romania. Here are several antique maps from the museum’s collection on public display. Image courtesy www.muzeulhartilor.ro

View a presentation of conservation techniques involving the treatment of an 1808 map of Milledgeville, Georgia. Note: The video is visual only; no sound:

What are some options for storing maps properly and safely?

Maps should be kept in typical room-temperature and humidity conditions, so not in hot attics, not in damp basements, and not next to heat sources. Preferably keep the maps laid flat in boxes or shallow drawers and, less ideally, gently rolled in a tube that is at least three inches in diameter. Very importantly, longer-term direct physical contact with the map should be only by archival, acid-free materials, an excellent option among these being polyester (e.g., Mylar) sleeves or acid-free paper. Avoid direct sun exposure and handling with dirty hands.

How would you recommend someone display an antique map, if that is their intention, so it isn’t compromised by light and moisture?

Many of us elect to display some of our favorite maps, and usually in frames. Before framing, it’s best to restore the map if there are any defects. As noted earlier, all physical contact with the map should be with archival, acid-free material, including the matting, the support board behind the map, etc. Do not glue the map to a board or backing; rather, use mounting corners or possibly acid-free hinging tapes to hold the map in place. If the map is fragile, backing with Japanese paper might be warranted. Avoid direct contact between map and glass. UV glass should be used, and do keep the framed map away from direct sunlight and heat sources. A professional framer who is familiar with maps should be considered.

What are some signs that a map is damaged? Some are more obvious than others I suspect, so how can you tell?

Most damage is readily visible on a map: 1) discoloration due to mildew, soiling, foxing, yellowing, browning, color fading; 2) voids caused by pests or mishandling, 3) tears, splits; 4) water stains, 5) uneven surfaces, etc. Needless to say, both sides should be evaluated. Brittleness is often not visible but can be devastating to a map.

If a map is damaged is finding a conservator the best next step? What kind of things should one look for or check on to determine the conservator you are looking to work with is reputable?

Nothing lasts forever, but if a map is damaged, short of a minor issue (unclean surface, small tear, slight and age appropriate discoloration), it is typically best to engage a professional conservator or restoration expert, or your map might suffer considerably over time. Cleaning dirt off the surface, closing a small tear with archival material on the back or minor flattening under weights are about as far most of us ought to take do it yourself conservation, and only if one is confident doing so after reading how to perform the task properly.

Engraved map of British and French Dominions in North America, published February 13, 1755, created by Thomas Kitchen after John Mitchell. Seldom-seen first edition, and first issue. Twenty-one editions and impressions of this map appeared between 1755 and 1781. This map was part of a noted moment of cartographic warfare when tension over territory and dominance within the new country was shaping up, just ahead of the French and Indian war. Sold for $400,000 during a June 2017 auction. Rader Galleries and LiveAuctioneers image.

The process of finding a conservator or restoration expert is like finding any other good professional. Most people would rely on information such as: a) personal recommendations by trusted antique map or book dealers or fellow map collectors; b) inquiring about length of time in the conservation and restoration business; c) learning about their experience base suggested by their client list (see if they have serviced antique map and book dealers and institutions) and viewing before-and-after restoration images of items; d) considering their professional accreditations (i.e., AIC – American Institute of Conservation) and the like.

While having the conservator nearby is good, shipping to a conservator is a good option as well. Do get an estimate up front, though (pictures of the problems to be resolved do help), as restoration service pricing can vary significantly. There are numerous individuals or companies offering restoration and conservation of works on paper – maps, books, letters, paintings – and some also deal with other forms, such as paintings on canvas, photographs, etc.

What are your four best pieces of advice when it comes to preserving and caring for an antique map?

When it comes to preservation and care of maps I’d offer the following thoughts:

  • Enjoy your maps. Chances are, most of them are many multiples of your age and have survived. But don’t add stress to their lives through abuse or neglect. Be knowledgeable what heals them and what prolongs their lives.    
  • The most important and likely easiest step is to help mitigate any future deterioration through appropriately storing or displaying your maps, as was discussed earlier.
  • Decide what role each map plays in your life. Is it dear to your heart? Will you or do you already prominently display it? Will you keep it in your collection long term? Or, is it just a nice-to-have map? The more important the map is to you, the more important it is that you proactively consider any restoration that might be needed.   
  • When it comes to active conservation and restoration, aside from minor steps, it is typically best to use the services of a professional conservator or restoration expert. With that said, balance the cost of restoration with the monetary and sentimental value of the map.

If you are looking for a new subject on which to focus your collecting efforts, you might want to consider antique and vintage maps, which are a fusion of several interests in one fascinating topic.

About the Expert:

Steve Kovacs has been passionate about geography and maps for five decades. His interest has taken him from studying and collecting maps to opening a boutique online map gallery. He also enjoys putting his knowledge of maps to use for his global travels – he’s visited 55 countries so far. He also has a background in science, engineering and business. He is a member of the International Map Collectors’ Society and serves as the expert curating Map auctions for Jasper52.