The Antiques Addict: Early American Pottery

Governor Gooch had a secret. Virginia Governor William Gooch had good reason to hide the truth in his 1732 annual report to the British Board of Trade. The colonies were forbidden to engage in manufacturing any products in direct competition with those imported from England, except for those that would benefit the mother country. Yet, he and his government had long encouraged local entrepreneurs, including a Yorktown merchant known as William Rogers. An enterprising brewer and businessman, Rogers’s pottery was one of Virginia’s most prosperous businesses, producing 23 types of redware and stoneware, which were shipped up and down the East Coast. Since the quality of Rogers’s vessels was comparable to anything imported from England, and clearly posed a conflict, Gooch maintained his deception until the end of the decade. The most utilitarian pottery available, redware was one of the first necessities that the colonists made themselves. It’s no wonder Governor Gooch was covert about this flourishing industry. Redware pots were used like plastic is used today. They were comparably cheap, plentiful and locally crafted, using clay with high iron content (this is what gives redware its characteristic red or orange hue). Redware jugs, jars, plates, bowls and tavern ware of various kinds were used throughout 17th- and 18th-century America. If the housewife needed it, the potter made it. Unfortunately, the potter, or anyone who regularly used redware vessels, commonly developed nervous disorders, like palsy and tremors, associated with lead poisoning. There are multitudes of contemporary pieces on the market that are being advertised as antiques. Hence, collectors should educate themselves to be able to discern fakes. Examine the back of the piece to see if it is blackened, which would indicate that it was used on the hearth and is likely an old piece. Since tallow or fat leaches into clay, smelling the piece for faint remnant odors of either can help determine whether it’s an older item. A glaze with a glassy quality is a sign of a modern piece. Stoneware was developed due to the fear of poisoning from lead-glazed earthenware. Made of dense, blended clays, salt-glazed and then fired to vitrification, stoneware was imported to the colonies from England and Germany. Early American redware potters rarely inscribed their names in the soft clay, but stoneware quite often bears the maker’s mark. Crocks, jugs, butter churns – chiefly utility items – were typically decorated with freehand cobalt decoration of flora, fauna and, occasionally, military motifs. An urn featuring Civil War soldiers recently sold at auction for $350,000. The mellow, golden-colored ware is a type of stoneware made of fine yellow clay that was found along riverbanks in New Jersey and other Mid-Atlantic states. Since the yellow clay contains a lower level of iron, causing it to vitrify at higher temperatures than red clay, yellow ware items were much harder and more durable for kitchen use. The collector can determine whether an older piece is American yellow ware by tapping it: American pieces will thud; English yellow ware will ring. It was a popular choice for kitchen use up until the 1940s, when homemakers began to be seduced by pieces made of modern materials. The south has a wide and diverse 200-year history of pottery, covering multiple states. Southern redware and stoneware research has made significant strides in the last 25 years. Entire new schools of pottery have been discovered, uncovering new forms and traditions. The pottery of the “Great Road” represents some newer discoveries of the southern pottery tradition. The Great Road, considered part of the “Great Wagon Road” initiating in Philadelphia, was the primary route from Roanoke, Va., to eastern Tennessee. A wonderful piece of antique American folk pottery, whether it is redware, stoneware or yellow ware, has its own distinct past. A potter – who probably dug his own clay, mixed his own glaze recipe and fired his pieces in old wood-fired kilns – made each piece, and every piece tells its own unique story. An antiques dealer for more than 25 years, Michelle Galler owns Antiques, Whimsies & Curiosities, based in Georgetown and in Washington, Va. Contact her at to suggest a topic for a future column. [gallery ids="101984,135444,135446" nav="thumbs"]

Bringing the Hammer Down

Final selling prices for last month’s featured Auction Block items. Bonhams Shamrock V, 1995, oil on canvas John Mecray (b. 1939) Auction Date: Jan. 30 Estimate: $60,000 – $80,000 Final Selling Price: $62,500 Sotheby’s Bacchante with Grapes Carried by Two Bacchantes and a Bacchant, dated 1800 Claude Michel, called Clodion (1738-1814)? Auction Date: Jan. 29 Estimate: $600,000 – $1,000,000 Final Selling Price: $2,853,000 Christie’s Tete de Chevre de Profil, 1950 Pablo Picasso (1881-1973) Auction Date: Feb. 6 Estimate: $3,000 – $4,600 Final Selling Price: $15,310 Freeman’s Diamond, Sapphire, Platinum and 14ct Rose Gold Spray Brooch Torre Vincent? Auction Date: Feb. 9 Estimate: $1,400 – $1,800?? Final Selling Price: $1,875 (buyer’s premium included) Doyle New York St. Sebastian, oil on canvas? Follower of Jacopo Tintoretto? Auction Date: Jan. 28 Estimate: $3,000 – $5,000?? Final Selling Price: $16,250 (buyer’s premium included)

The Auction Block

Doyle New York Pair of Chinese Cloisonné Elephants, early 20th century Estimate: $70,000 – $90,000 Auction Date: March 16 Part of Doyle’s Asian Works of Art Auction, each elephant stands four-square on a rectangular base, the head held low with the trunk curled under between long, gently curved tusks. They are both set with a saddle and elaborate trappings, supporting a vase with a pearl and flame finial. This beautiful décor looms large: height 72 inches, length 47 ½ inches, width 24 inches. Christie’s London 18ct Gold Sapphire and Coloured Diamond ‘Chiocciola’ Ring De Grisogono Estimate: $4,000 – $4,600 Auction Date: March 4 This opulent ring is of stylized crossover design, the single terminal set ‘en tremblant’ with briolette-cut yellow and orange sapphires, to a brilliant-cut yellow diamond looped surround and single shoulder. It will be part of Christie’s London’s popular Jewelery Auction. Bonhams Japanesque Tea Caddy, c. 1880 Hammered Sterling Silver and Mixed-Metal Tiffany & Co. Estimate: $12,000 – $18,000 Auction Date: March 4 This wonderful hammered tea caddy, with gilded interior, has a body and cover decorated with applied vines, dragonflies and gourds in copper and gold, along with ‘mokume’ butterflies. It will be part of Bonham’s Auction of Fine Furniture, Silver, Decorative Arts and Clocks. Sotheby’s Theatre Des Errements III, 1963, gouache on paper Jean Dubuffet (1901-1985) Estimate: $300,000 – $400,000 Auction Date: March 5 Sotheby’s March 5 Contemporary Curated auction will highlight a diverse range of works from the brightest stars of the post-war and contemporary periods. Examples from the Ab-Ex and Color Field artists will be offered side-by-side with important works from the Pop and Pictures Generation, as well as cutting-edge visionaries of today. This Dubuffet piece is sure to attract a great deal of attention.

The Antiques Addict: Hooked Rugs, America’s Indigenous Folk Art

Early American hooked rugs were a craft of poverty. Prior to 1780, most floors in American homes were bare, especially among the poor. Painted floors or stenciled floor cloths were found in the homes of those who were slightly better off. Only the very wealthy had the means to import carpeting, since the American textile industry was in its infancy. After 1830, as factories in America began making wool carpets for the rich, having a floor covering became a symbol of domestic and socioeconomic well-being. This was a period when Americans were looking beyond the bare necessities, trying to make their homes more livable. As the fashion for floor coverings took hold, poorer women began ransacking their scrap bags for materials to employ in creating their own floor coverings. Their work was laborious and slow, hooking rag strips through tightly woven linen or hemp backings using a special tool adapted from the sailor’s marlinspike. Then, after 1850, trade tariffs relaxed and coffee, grain and feed started to arrive wrapped in jute burlap sacks made in India. This free fabric was strong, but loosely woven enough to allow the rag scraps to be easily hooked through it into the characteristic loops. The women who made the early rugs also designed them, borrowing many of the motifs from the Oriental rugs imported by the wealthy. A New England peddler noticed the rug-hooking trend and saw an opportunity. In 1876, he began stamping the best of the traditional designs onto burlap. His designs also included lions, tigers, leopards, dogs, cats, birds, deer and floral patterns. From this point on, every woman could make her own colorful rugs from scraps of clothing. For the next 50 years, this essentially rural craft spread to the humblest households along the northeastern seaboard. In the waning years of the 19th century, with the industrial revolution well underway, machine-made goods were seen as superior to homemade goods. Hooked rugs were viewed as “quaint” and lost their popularity. By the 1920s, however, American cities were filling up with multitudes of immigrants. Many Americans reacted to these social changes by idealizing the colonial period as a time of noble virtues and high moral standards. There was a flurry of interest in hooked rugs and homemade quilts as “virtuous” colonial artifacts (though most had been produced long after the end of the colonial period). In the 1930s and ’40s, antique dealers and interior designers recognized the beauty and historical value of this form of needlework, leading to a resurgence of rug hooking. In fact, the great majority of the rugs we find today sold as “antiques” were made between 1900 and 1960. Since they are less than 100 years old, they are more properly called “vintage.” American country antique collecting was at its height in the mid-1960s. Armistead Peter 3rd (1896-1983) and his wife Caroline Ogden-Jones Peter (1896-1965), the last private owners of the venerable Georgetown estate Tudor Place, began to redecorate their stately home after Peter’s father passed away. They elected to purchase three hooked rugs for their bedrooms, and those boldly pattern rugs are still part of the collection. Today, older hooked rugs have again regained popularity, due in part to their wonderfully colorful graphics. Also, like American primitive antiques in general, they show “the hand of man” and mix well with other styles, including transitional and the now-popular mid-century modern look. Condition is very important when collecting older hooked rugs. Collectors should be sure to check the backing for signs of rot or for missing fabric. A restorer can patch the backing and restore missing rag, but a buyer should be ready to do some heavy negotiating for a damaged hooked rug. These once purely utilitarian objects are now recognized as an art form that, in addition, traces the nation’s history from pre-industrial times. The good news is that wonderful examples can still be readily found and are reasonably affordable. They add a dash of color, whimsy and history to any well-decorated home. An antiques dealer for more than 25 years, Michelle Galler owns Antiques, Whimsies & Curiosities, based in Georgetown and in Washington, Va. Contact her at to suggest a topic for a future column. [gallery ids="101977,135524" nav="thumbs"]

The Antiques Addict: Staffordshire Portrait Figures

Here in Georgetown, we live in the mother lode of antiquities, an antique community where relics are everywhere we look. Since Georgetowners interact with history every day in our 18th- and 19th-century homes and on our cobblestoned streets, it’s easy to stop actually seeing the objects and places that inform our daily lives. So it’s interesting to delve a bit into the what and why of the old things that surround us, everyday household items or fine rarities from a century or more ago: a colorful vase that a favorite aunt left, an old bottle found under a floorboard during renovations, yellow ware bowls, glorious old silver, colorful tins that once held everything from soup to opium. A dealer in antiques for most of my adult life, I am drawn to old things and old places. I still like to imagine the people who lived in my early 19th-century home and how they lived in it. They loved, lost and raised their families within the quotidian realities of the age. Just as certain smells can flood us with memories, antiques can provide a powerful connection to our own personal histories. A familiar object spotted at an antiques shop can be an emotional bridge with our past, a childhood moment or a loved one. Many collectors’ fascination with the things of the past reflects a profound desire to connect to a time when life was more predictable. True collectors don’t buy to resell. They buy for that enduring link to the past, a sense of history, the thrill of the hunt or to furnish a home. My penchant for collecting Staffordshire portrait figures (1837-1901) stems from all of the above. They are decorative and have a wonderful naïve charm. The figures were the Victorian version of People Magazine; made to communicate the “news of the day” to everyman, they had a broad appeal across social classes. Many a politico, murderer, actress, soldier and historic event of the time were portrayed in Staffordshire. Victorian portrait figures are generally titled, but not always. The quality of the workmanship varies tremendously. Some were quite primitively rendered, making the characters impossible to recognize (likely the result of basing the portrait on a bad engraving in a periodical of the day). Yet all are historically interesting and, amassed, make up a visually pleasing and thought-provoking collection. Prior to 1840, most figurines were made to imitate porcelain and finely worked. Starting in 1842, the “flat-back” design made them easier to reproduce in earthenware. The Crimean War (1854-1856) was the heyday of this form. There was intense popular interest in Queen Victoria and Prince Albert, the allied leaders and their war commanders, and a profusion of figures were made in the new style. One of the chief attractions in collecting Staffordshire figures is the great number of variations within a type. Each potter created his own version of a well-known contemporary subject – a famous battle, performer, literary character or royal personage – hence the profusion of similar subjects that look extremely different from one another. Some collectors specialize in certain themes, like Little Red Riding Hood (a popular subject). Others may collect circus figures, politicians, sporting figures or any of the hundreds of variations available. By the start of the 1880s, the art was beginning to decline. Finally, with the death of Queen Victoria, fewer figures were produced. Although a few figures were made to commemorate World War I, they were in a different, more sophisticated style, lacking the former rustic charm. For me, the fun is in buying whatever strikes my fancy. Since the figures are ubiquitous, I am almost always able to find company for the others in my collection. An antiques dealer for more than 25 years, Michelle Galler owns Antiques, Whimsies & Curiosities, located in Georgetown and in Washington, Va. Contact her at to suggest a topic for a future column.

The Auction Block: Dec. 3

Doyle New York Important Jewelry Sale, Dec. 11 Platinum, Invisibly-Set Sapphire and Diamond Flower Clip-Brooch, France Estimate: $40,000 - $60,000 The stylized flower and leaf is invisibly set with 153 square, rectangular and triangular-cut sapphires, approximately 15.50 carats, edged by 59 round and single-cut diamonds, flanked by a stem set with 17 baguette and tapered baguette diamonds, altogether approximately 2.45 carats, centering 3 marquise-shaped diamonds, approximately 1.75 carats, with maker's mark and French assay mark. Sotheby's Magnificent Jewels Auction, Dec. 9 Iconic Platinum, Colored Stone, Diamond and Enamel 'Tutti Frutti' Bracelet, Cartier Estimate: $750,000 – $1,000,000 The flexible openwork foliate band is set with numerous carved emeralds and rubies, accented by onyx beads and faceted rubies, further set with old European and single-cut diamonds, approximately 6.25 carats, enhanced with black enamel. Signed Cartier, circa 1928. Bonhams Fine Jewelry Auction, Dec. 8 Sapphire and Diamond Ring?? Estimate: $100,000 – $150,000 This ring of radiant blue is set with a cushion modified-cut sapphire, 25.66 carats, flanked by pear-shaped diamonds, mounted in platinum. Size 2 3/4 (with sizing beads). Freeman's Holiday Estate Jewelry Auction, Dec. 15 Emerald, Diamond and 18 Karat Gold Ring Estimate: $2,000 - $3,000 The classic ring centers an oval cabochon emerald weighing approximately 10.00 carats, bezel-set and accented by pavé-set diamonds. Total diamond weight approximately 2.40 carats. [gallery ids="101941,135972,135977,135979" nav="thumbs"]

The Auction Block

Bonhams Edgar Degas (1834-1917) Danseuses et contrebasse ('Dancers and bass'), ca. 1879-1880 oil on panel ca. 1879-1880 Auction Date: Nov. 4, 2014 Estimate: $400,000 – $600,000 Part of the Impressionist and Modern Art Auction, this rare oil by Degas shows the painter at work again on his beloved dancers. With the recent 2012 exhibit at The Phillips Collection, “Degas' Dancers at the Barre,” and the recently opened “Degas' Little Dancer” at the National Gallery, this painting is a piece of a reinvigorated history for any Washington collector. This auction covers works from the dawn of Impressionism to the fracturing of traditions in the Post-War period, from Degas to Dalí, covering the movements that define recent Western Art. Artists represented include Monet, Bonnard, Sisley, Pissarro, Rodin, Picasso, Miró and Ernst ,to name but a few. Andy Warhol (1928 – 1987) "Campbell's Soup I,” 1968 The complete set of ten color screenprints on wove paper. Auction Date: Nov. 2, 2014 Estimate: $250,000-400,000 Warhol’s “Campbell’s Soup I,” a complete set of ten screenprints, is the centerpiece of the Modern & Contemporary Art sale, featuring works by Calder, Dubuffet and Bertoia, among others. These screenprints were purchased directly from the artist during one of their first showings at Leo Castelli’s gallery in 1968 by Lois Cowles Harrison,. The daughter of famed Warhol collector (and founder of Look Magazine) Gardner Cowles Jr., Cowles Harrison was an avid and early collector of Warhol and other Pop artists. Potomack Company Rare Gilt Bronze Mounted Kingwood Meuble de Milieu By Joseph-Emmanuel Zweiner, Paris, ca. 1880 Auction Date: Oct. 18, 2014 Estimate: $20,000 – $30,000 Cabinetmaker Joseph-Emmanuel Zwiener (1849-1895) was born in Germany and moved to Paris to practice his craft. He was renowned for his copies of 18th century furniture from public collections and won a gold medal at the Exposition Universelle in Paris in 1889. This cabinet is after a design by Charles Cressent (1685-1768). Doyle New York Willem de Kooning (1904-1997) Woman, 1965 Oil on paper laid to panel Auction Date: Nov. 11. 2014 Estimate: $200,000 – $400,000 This seminal de Kooning will be offered with Doyle's Post-War and Contemporary Art sale on Nov. 11, from the Estate of the Honorable Roy M. Goodman. The piece was initially acquired directly from the artist by New York State Senator Goodman (1930-2014), who was a dedicated and effective advocate for the arts in New York for more than forty years. Senator Goodman was even named an Ambassador for the Arts by the National Endowment for the Arts “in recognition of his unwavering support of the arts and cultural affairs.” The work is inscribed to Goodman by the artist himself on a notecard affixed to the reverse.

The Auction Block

Weschler’s Tiffany & Co. Lucida Platinum and Diamond Solitaire Ring Auction Date: September 19 Estimate: $25,000 - $35,000 Love is in the air at Weschler’s with a selection of nearly twenty diamond engagement rings, from their fall Capital Collections Estate Auction. The standout is a Tiffany & Co. Lucida platinum and diamond solitaire ring, set with an internally flawless, E-color, diamond weighing 1.63 carats. The auction will also feature an important selection of 20th century American works of art cultivated from prominent Washington, DC collections. Sotheby’s New York Platinum, 18 Karat Gold, Colored Stone and Diamond ‘Oiseau de Paradis’ Brooch, Schlumberger for Tiffany & Co., France, circa 1963 Auction Date: September 23 Estimate: $150/250,000 From an ‘Oiseau de Paradis’ brooch by Schlumberger boasting fantastical colored stone plumage, to an Art Deco inspired pair of David Webb diamond earrings framed by swirling enamelwork, the Important Jewels sale this September deftly guides collectors from day to night. Modern classics are mixed among exquisite period jewels including a rare Belle Époque garland design bracelet by Cartier. The sale also offers a superb array of top quality colored gemstones and diamonds, many of which are set in signed mountings. Potomack Company Magnificent String of Opal Beads with Diamond and Sapphire Clasp Auction Date: October 18 Estimate: $10,000 - $15,000 This resplendent necklace consists of 29 graduated gemstone orbs in a rainbow of hues with a larger oval opal, sapphire and diamond clasp. Opal was considered good luck in the Middle Ages and is celebrated today as the October birthstone. Doyle New York Rose Gold, Platinum, Mystery-Set Ruby and Diamond Leaf Clip-Brooch, Van Cleef & Arpels Auction Date: October 21 Estimate: $150,000 - $250,000 Part of Doyle New York’s Important Jewelry Auction. 18 carat brooch, composed of three overlapping leaves mystery-set with 316 square, rectangular and fancy-shaped rubies, centering fine ribbon-like veins and topped by two stylized leaves set with 20 tapered baguette and baguette diamonds. Freeman’s 9.69 Carat Diamond Ring with Diamond Accents Auction Date: November 3 Estimate: $75,000 - $95,000 This pear shape diamond set in a platinum ring with triangular-cut diamond accents will be sold in Freeman’s Fine Jewelry & Watches auction on November 3. BRINGING DOWN THE HAMMER Sotheby’s July 16, Fine Jewels Auction Enamel and Diamond Bracelet, Verger Fréres, ca. 1920 Estimate: $34,280 – $51,420 Final Selling Price: $127,693 Bonham’s July 02, Post-War & Contemporary Art (London) Lucio Fontana (Italian, 1899 – 1968) Concetto Spaziale, 1952 oil on canvas Estimate: $400,000 – $565,000 Final Selling Price: $1,241,847 Christie’s September 03, Out of the Ordinary auction (London, South Kensington) Mark Stoddart ‘Hippo’ Dining Table, 2002 Estimate: $8,285 - $11,599 Final Selling Price: $28,805

The Auction Block August 6, 2014

The fall auctions of Asian art are lined up in New York like the panels of a painted screen, beginning Monday, Sept. 15, with Asian Works of Art at Doyle New York and Chinese Art at Bonhams. On Tuesday, Sept. 16, Bonhams has a Fine Japanese Works of Art auction and Christie’s has two auctions: Indian and Southeast Asian Art and Fine Chinese Paintings. Sotheby’s also has two that day: Chinese Art through the Eye of Sakamoto Goro: Song Ceramics, and Fine Chinese Ceramics & Works of Art. The sole auction on Wednesday, Sept. 17, is at Sotheby’s: Images of Enlightenment: Devotional Works of Art and Paintings. On Thursday, Sept. 18, Christie’s has an auction of Fine Chinese Ceramics and Works of Art and Sotheby’s has two auctions of Chinese paintings: Fine Classical Chinese Paintings & Calligraphy and Chinese Paintings and Calligraphy, formerly in the collection of General and Mrs. Zhu. The Chinese-owned Gianguan Auctions, at Madison Avenue and E 41st Street, has an auction of Fine Chinese Paintings, Ceramics, Bronzes and Works of Art on Sunday, Sept. 14. On Friday, Sept. 19, concluding the week of intense contemplation – and competition – the Fine Chinese Ceramics and Works of Art auction wraps up at Christie’s. Just prior to the New York auctions, on Saturday, Sept. 13, Freeman’s in Philadelphia holds its fall auction of Asian art. Skinner in Boston has an Asian art auction on Wednesday, Sept. 17, with a preview in New York at The Culture Center on Friday, Sept. 12. Asia Week New York, the even bigger spring series of sales and exhibitions, will take place March 13 to 21, 2015. Total sales at last spring’s event were $200 million, $25 million more than in 2013, due both to the rising interest in Asian art among museums and to the increasing number and wealth of Chinese buyers.

The Auction Block

Bringing the Hammer Down Final selling prices for last month’s featured Auction Block items. Bonhams James Edward Buttersworth, (British/American, 1817-1894) "The America's Cup yacht Vigilant" Oil on canvas Auction Date: June 25 Estimate: $200,000 - $300,000 Final selling price: $305,000 Freeman's Edouard Leon Cortes (French 1882-1969) "Place St. Michel" Oil on canvas Auction Date: June 17 Estimate: $20,000 - $30,000 Final selling price: $43,750 Sotheby's Louis XV Ormolu-Mounted Chinese Lacquer Commode circa 1745, Stamped P. Roussel Auction Date: June 9 Estimate: $150,000 - $250,000 Final selling price: $281,000 Doyle New York Regence Style Walnut Marble Top Commode Auction Date: July 16 Estimate: $1,200 - $1,800 The popular Doyle at Home auctions attract savvy buyers with an endless diversity of stylish furniture, elegant decorations and attractive works of art from prominent estates and collections across the country. Designers, architects, magazine editors and other trend-setters look to the Doyle at Home auctions as a resource for exceptional objects that combine quality, value and style. These auctions have also become popular venues for the sale of property from designers’ own collections or for furnishings that they have incorporated into projects for their clients. This auction of Fine Furniture, Decorations and Paintings from Prominent Estates and Collections, includes an impressive collection of furniture, prints, porcelain, silver and rugs. Bonhams Vasudeo S. Gaitonde (1924-2001) Oil on canvas Auction Date: September 17 Estimate: $300,000 - $500,000 Following a record-breaking auction of Indian, Himalayan and Southeast Asian Art in March, Bonhams New York announces it will offer two seminal works by one of India’s most important modern artists, V.S. Gaitonde. The masterworks by Gaitonde will headline a special section of Modern South Asian Art and will be on preview in New York from September 14-17. Signed and dated 1961 and 1963, respectively, the paintings stem from the artist’s much coveted and pivotal ‘non-objective’ series. With record prices achieved at auction over the past six months, and an upcoming retrospective opening at the Solomon R. Guggenheim Museum in New York in October, Bonhams is anticipating strong international interest. This 1961 canvas, estimated at $300,000-$500,000, has a dramatic tonal variation with an abyssal vertical band of blue interrupting the median horizontal line. Sotheby’s Brian Belott Untitled, 2014, mixed media and reverse glass technique, 40 1/4 by 32 1/4 Selling Auction: Hours of Operation Monday – Friday 10:00 a.m. – 5:00 p.m., and by appointment S|2 is Sotheby’s Contemporary art gallery, offering year-round exhibition programming and bespoke private sales. With dedicated gallery space in New York, London and Hong Kong, S|2 presents selling exhibitions exploring the work of celebrated artists. In collaboration with curator Ryan Steadman, Save It For Later is a selling exhibition of paintings and sculpture created for this show by a group of young and emerging American artists working in a consumer environment of disposable goods. The exhibition features artists that work with salvaged materials and incorporate reuse and recycling in their practice. Featured artists include Brian Belott, Graham Collins, Rachel Foullon, Jack Greer, Dave Hardy, Jo Nigoghossian and Jack Siegel.