Georgia Okeeffe Number of Siblings Georgia O Keeffe When Did She Start Art
Antiques
A Sister in the Shadow of Georgia O'Keeffe
Georgia O'Keeffe was disappointed in her painter sister Ida O'Keeffe. "A wasted life," she told the family unit when Ida died in 1961, at 71. The Dallas Museum of Fine art will tell Ida'due south side of the story with an exhibition scheduled for 2017, "Ida O'Keeffe: Escaping Georgia'due south Shadow."
Ida was the third of the seven O'Keeffe siblings. They grew upwardly among the gloom of their mother'south last tuberculosis. Another sister, Catherine, also became an creative person. The three occasionally exhibited paintings together, only artworks past Georgia captured the near praise, partly thanks to the knack her husband, Alfred Stieglitz, had for publicizing her.
"Georgia remains supreme," a newspaper critic wrote in 1933.
Sue Canterbury, an American art curator at the Dallas Museum of Fine art, is looking for Ida's memorabilia, paintings, illustrations and prints, specially views of Cape Cod lighthouses with overlapping beams. A skimpy archival trail shows that Ida O'Keeffe at times worked as a nurse; taught art at schools, including a North Carolina higher for American Indians; and served as a draftswoman during World State of war II at an aircraft manufacturing plant in Whittier, Calif.
Moving often to make a living "very clearly left little time for her to pursue her own piece of work," Ms. Canterbury said.
Ida lived mostly alone, and her property seem to have been casually dispersed afterward her decease. Her paintings and prints occasionally sally on the market, typically selling for a few hundred dollars each.
Georgia O'Keeffe saved a few artworks past Ida merely almost no correspondence. Surviving paperwork does show that Stieglitz liked Ida perhaps too much for Georgia to tolerate. In his flirtatious letters to his sister-in-law, he describes himself equally a crow feather eager to pierce a plump red apple. He also took many photos of Ida. (The prints have brought thousands of dollars each at recent auctions.)
Ms. Canterbury said she was looking forward to more than interviews and archive visits. Descendants of Ida O'Keeffe's neighbors in Whittier, peradventure, remember anecdotes almost a famous artist's forgotten and neglected sister.
"There has to be something out there," Ms. Canterbury said.
THE TEDDY BEARS' AUCTION
Chuck Steffes, a teddy carry collector in Galax, Va., does not expect to recoup his overall investment in blimp animals by selling about 100 of them on June 13 at the James D. Julia auction house in Fairfield, Me.
Epitome
Mr. Steffes and his married woman, Cathy, who died last yr at 59, spent up to v-figure sums per bear during three decades of acquiring. "With Cathy gone, there's no fire left to continue to collect," he said in an interview. The couple endemic close to 1,000 bears likewise as memorabilia — including infant rattles, buttonhooks, tie clasps, porcelain plates, drinking glasses and sheet music — with teddy acquit motifs.
"The house is still then full of things," he said.
The largest bears in the drove, about two feet tall, cost "a thousand dollars an inch," he said. He and his wife concentrated on bears fabricated past the Steiff factory in Germany, with original tags and buttons on the ears and chests. The couple too sought out images of original owners equally children holding the stuffed animal.
To foreclose fur deterioration, the Steffeses handled the collection with cotton wool gloves and removed dust gently by placing pantyhose over vacuum nozzles.
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"We wanted it equally mint as it could be," he said.
The couple acquired some of the Julia lots at the last major Steiff sale, at Christie's in London in 2010. The drove belonged to Paul Greenwood, a hedge fund manager who pleaded guilty to investor fraud.
Peak estimates at the Julia sale include $25,000 to $40,000 for a black mohair acquit with red-rimmed eyes, made in mourning for victims of the Titanic soon later it sank in 1912, and $25,000 to $45,000 for a 1920s tan bear dressed equally a clown in a bluish ruff and a cream-colored hat studded with pompoms.
BARNS TO DUCKS, REBORN
Museum restorations at the eastern finish of Long Island, underway after years of delays, are leading to discoveries and donations of related artifacts.
The painter Thomas Moran'due south 1880s home and studio in East Hampton, which had long been aging inside sight of luxury boutiques, has been given new foundations and is expected to open in 2017.
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"At present, even the turret is level, which information technology has not been for a very long time," Richard I. Barons, executive director of the Thomas Moran Trust, said.
His team has been locating article of furniture and artworks that belonged to the Morans, scattered in homes and institutions nearby. Owners are agreeing to lend or requite objects to the museum, including paintings, prints, chairs, dressers, coppery ceramics and a clamper of an exterior column.
As the building is shored upward in plain sight, Mr. Barons said, "people are getting quite enthusiastic."
At the Southampton Historical Museum, an 1825 barn had been airtight for years, suffering from termite and protrude infestations. "It was beautiful on the exterior only uninhabitable for visitors," Tom Edmonds, the museum'due south executive director, said.
The barn reopens on June fourteen, its interior walls displaying panoramic photos of the axle frame that was exposed during repairs. The restoration has led to a steady stream of gifts to the museum, including 1910s oak chairs from the office of the local philanthropist Samuel Parrish. Mr. Edmonds said he sometimes finds antiques simply left at the function doorstep.
"Nosotros're the identify to bring things you don't want anymore, and unlike a austerity shop, nosotros usually keep it," he said.
In 2015, a burn down engine museum is expected to open in Sag Harbor, and the Bridgehampton Historical Guild plans to end restoring its early-1800s house at the edge of downtown. The Bridgehampton building's Ionic front columns, which looked precarious for three decades, are direct once more, and there are loan offers in the works of miniature paintings past the house'southward owner in the 1840s, the artist Nathaniel Rogers.
On the North Fork, a barn nigh the 1930s Big Duck in Flemish region, a giant poultry advertizing, is being turned into a duck farming museum scheduled to open up in Oct. Displays of vintage video footage and subcontract equipment will document how the birds were incubated, transported and slaughtered, and how the building inspired 1970s architectural theorists to describe such novelty designs every bit "duck architecture."
Source: https://www.nytimes.com/2014/05/30/arts/design/a-sister-in-the-shadow-of-georgia-okeeffe.html
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