Iconic “Charlotte’s Web” cover art sells for $155K

'Charlotte's Web' original cover drawing by Garth Williams, 1952The original graphite-and-ink drawing of Charlotte holding Wilbur while they look up at Charlotte’s web made by Garth Williams in 1952 sold at auction yesterday for $155,350. Heritage Auctions’ pre-sale estimate was $20,000 to $30,000. The final sale price is a record for any of Williams’ art. Included in the lot was an ink drawing of a web and 2 watercolors of the cover design.

'Charlotte's Web' watercolor of cover design, Garth Williams, 1952E.B. White’s book Charlotte’s Web was published in 1952 with Garth Williams’ soon to be iconic cover image. The book has been translated into 35 languages and was listed by Publishers Weekly in 2000 as the best-selling children’s paperback of all time. Williams’ drawing has remained the cover art throughout the entire 58 years of its publication run. Its endurance makes it the most-printed cover illustration of any book by an American author.

The tenderly rendered cover art is a sublime thing. The fine-lined 11×14 image features farmgirl Fern Arable clutching Wilbur the saved-from-slaughter pig, as the literate arachnid Charlotte spins her magic above the livestock. On the original can also be seen handwritten production marks.

Fiona, the eldest of Williams’s five daughters, was said to be his model for Fern Arable.

This was the first time the Williams’s family had put the art up for sale; Williams died in 1996

When Williams first starting doing illustrations in the 1940s, he would send the original drawings to the publisher, they would get used and then sent back. He kept his returned art during his lifetime. After his death, the family carefully preserved his oeuvre, securing it in a bank vault.

Yesterday they put 42 original Garth Williams illustrations for Charlotte’s Web on the auction block. The illustration of Wilbur looking triumphant under the web where Charlotte has written “TERRIFIC” sold for $95,600. My personal favorite since I was a girl because of how irresistibly adorably sweet Wilbur looks, the one where Fern is bottle-feeding Wilbur as a piglet, sold for $19,120. The final combined total for all of Williams’ 42 pieces was $780,245.

Fern feeding Wilbur by Garth Williams "Terrific' illustration from 'Charlotte's Web' by Garth Williams

Big reward for Scottish gold torc finder

Four gold torcs found in Stirling, Scotland, 300-100 B.C.David Booth, the amateur metal detector enthusiast who found a hoard of 4 gold torcs near Stirling, Scotland, last fall, will receive £462,000 ($740,000) as a reward. Not bad for his first time out with the wand.

Unlike the treasure laws in England which have been so sadly exposed in the matter of the Crosby Garret Roman cavalry helmet, Scottish law establishes all archaeological objects found in Scotland are the property of the government. Finders have no ownership rights and must report all finds to the Treasure Trove Unit. The Scottish Archaeological Finds Allocation Panel then studies the object and the circumstances of its discovery and determine where the find should go and how much the recipients should pay as an ex gratia reward to the discoverer.

In this case, the panel has determined that the torcs will go to the National Museums Scotland and £462,000 of their pounds will go to David Booth. The landowner of the property where the torcs were found will also receive a reward, probably in the same amount. If it works how it works in England, the panel assesses fair value then splits the amount between finder and landowner.

The decision was announced by the the Queen’s and Lord Treasurer’s Remembrancer Catherine Dyer, who as the Crown’s representative in Scotland can claim buried archaeological or historic items.

Ms Dyer said: “This is a very significant find, the most important hoard of Iron Age gold ever found in Scotland.

“That these stunning artefacts have been unearthed in such excellent condition after being buried for 2,000 years is simply amazing.”

The four torcs were just six inches beneath the surface when Mr Booth discovered them with his metal detector.

Professor Ian Ralston, chairman of Safap, said: “The panel is grateful to the finder for reporting these highly important finds in good time and for the further assistance from the finder during fieldwork by the National Museum at the site of the discovery.

“This has allowed much greater understanding of the archaeological context of these four exceptional items.”

Because of Booth’s quick reporting of his find, archaeologists were able to examine the site just a few hours after he disturbed it. They found evidence that the torcs had originally been buried inside a roundhouse. Since hoards are usually religious offerings or treasure buried under duress, it’s possible that the roundhouse was a religious building and the gold torcs sacrifices.

The torcs themselves are packed with historical significance. They date to between 300 and 100 B.C. Two of them are of a simple twisted designed likely to have been made locally. The third one is an annular torc broken into 2 pieces, which would have had a hinge and catch as a clasp but those parts are missing. Its elaborate design mark as it from Toulouse, and it’s the first of its kind ever found in the British Isles.

Fourth Stirling torcThe fourth torc is made from eight gold wires twisted together with decorated ends and a safety chain. These features are a combination of Mediterranean craftsmanship and traditional Iron Age themes, which suggests that Iron Age Scotland had more links to the Mediterranean than previously realized.

Dr Gordon Rintoul, Director of the National Museums of Scotland, says they’re delighted to have the opportunity to secure these unique artifacts for the national collection. They have to raise the money first and are looking into various funding options, she said obliquely. I’m not sure what happens if they can’t raise the full amount, but although Rintoul uses careful conditionals, I doubt they’re in any danger of not raising the reward money.

Five-year restoration of Giotto crucifix complete

Restored Giotto crucifix, Ognissanti Church, ca. 1320The massive 15-by-12-foot (and that’s just what’s left; 3 feet at the bottom are missing) crucifix that used to hang in the small and dim sacristy of the Ognissanti (All Saints) Church in Florence is finally at the end of its long 5 year restoration. It will be returned to a new place of honor in an LED-lit transept chapel on November 6th, because for the first time in centuries it will be on display as a work by late Medieval master Giotto.

The richly painted crucifix dates to the second decade of the 1300s, but before the restoration began, the painting was attributed to a student or family member of Giotto’s, not to the master himself. Last year, when the restorers from Florence’s famous conservation institute Opificio delle Pietre Dure were finally able to examine it under layers of grime, candle wax and smoke, they encountered familiar brush strokes and materials. Using infrared reflectography analysis, researchers found a preparatory sketch underneath the painting. The pictorial techniques used confirmed the work was done by Giotto.

The large (467×360 cm) cross took so long to be renovated because it was in a “very poor state of repair,” lead restorers Marco Ciatti and Cecilia Frosinini said, and the supporting structure had to be “thoroughly bolstered”.

They pointed out that cutting-edge solvents were used to remove centuries of grime while “extremely delicate attention” was taken with the coloured glass in Christ’s halo, which was “in very bad shape”.

As well as enabling the attribution, the restoration work also “revealed a lot of new information about how the artist worked,” they said.

The Church of Ognissanti had another Giotto made a decade before the crucifix. It’s a type of Madonna and Child known as a “Maestà,” Mary and the Christ child surrounded by angels. It was documented as a Giotto in the 15th century and is now in Florence’s Ufizzi Gallery as the “Ognissanti Madonna,” so it’s not shocking that the church had another one.

The only mystery at this point is how they forgot about it and ended up relegating the unattributed crucifix to such an obscure area.

Egypt jails 11 for negligence in Van Gogh theft

An Egyptian court has sentenced 11 Culture Ministry officials to three-year jail terms for negligence in the theft of Van Gogh’s Poppy Flowers from Cairo’s Mahmoud Khalil Museum in August. Deputy Minister Mohsan Shalan and the Khalil Museum’s former director were among the eleven.

The officials were charged with negligence and shortcomings in performing their duties that led to the loss of the painting from Cairo’s Mahmoud Khalil Museum.

An early investigation showed “flagrant shortcomings” in security at the museum, home to one of the Middle East’s finest collections of 19th- and 20th-century art.

Egyptian billionaire Naguib Sawiris offered a 1-million pound reward for information leading to the recovery of the painting, but it is still missing.

"Poppy Flowers"The Van Gogh painting, valued at $50 million, was stolen from the museum in broad daylight. Only 7 of the 43 security cameras were working, none of the alarms were, and the museum had recently drastically reduced its staff. There was only 1 security guard on shift, and when he went to pray the thieves slipped in, cut the painting out its frame and slipped out, sight unseen.

Mohsan Shalan and the other officials defended themselves by saying they had asked the ministry for $7 million to upgrade security systems at a number of Cairo museums, including the Mahmoud Khalil Museum, but they were granted a measly $88,000. So basically the “you see what I have to work with here” defense the Joker’s plastic surgeon tried on him.

Much like Jack Napier, Culture Minister Farouk Hosni didn’t find the argument persuasive. He testified against the defendants and denied criminally underfunding the museums. According to him, he delegated full responsibility for oversight of the Mahmoud Khalil Museum to Shalan who was given plenty of money by presidential decree. Documents Hosni introduced at trial included the decree approving over $10 million to renovate the museum.

It’s nice to have a buck handy that just happens to stop right below you, I suppose. We’ll see where this ends up. The former officials won’t be imprisoned right away. A bond of 10,000 Egyptian pounds ($1,800) will keep them out of prison until the appeal is decided.

Gondolas apply for UNESCO World Heritage status

Venice is launching a campaign to have gondolas, the traditional flat-bottomed boats rowed down the canals of Venice, added to the UNESCO Intangible Cultural Heritage list. Venice itself is already a UNESCO World Heritage site, as are most Italian art cities, but the Intangible Cultural Heritage list seeks to bring attention to endangered cultural elements, like languages, arts, social practices, festivals and traditional crafts.

The gondola qualifies as that last one. The first documented reference to gondolas is in a letter from a Venetian Republic official written in 1094 and although elements of their design changed over the next thousand years — they varied in size, had little cabins on top for privacy, were sumptuously decorated — gondolas have been a carefully regulated hand-made craft ever since. The black paint convention has been in place since 1562, when the elaborate baroque decorations that were the fashion at the time inspired a sumptuary law compelling all gondole to don a dignified black and limit all embellishments to stern ornament, a pair of seahorses and the multi-pronged ferro at the prow.

The Grand Canal and the Church of the Salute, Canaletto (1697-1768) The first architectural drawing of a gondola was created by a naval artist in 1768. The gondolas made today are almost the same, expect for one interesting change that took place in the late 19th century: the left side is is 10 inches longer than the other. This compensates for the weight of the gondolier and helps tighten turns in the snug and crowded canals. Traditionally made gondolas have 280 components and are made out of eight types of wood (lime, larch, oak, fir, cherry, walnut, elm and mahogany), plus a beech oar.

The problem is the craft is in danger. One basic gondola costs $30,000 and in this day of speedboats, gondolas are no longer the quotidian transportation vessel in Venice, but are instead almost entirely peopled by tourists. When gondolas ruled the canals, peaking in the late 18th century, there were 10,000 of them working the water. Now there are 800. Even worse, cheap plastic imitations are coming down the pike.

The city’s gondoliers’ association says it takes months of painstaking work to make an authentic gondola and that plans by a shipyard in Brindisi in southern Italy to start producing weather-resistant plastic and fibreglass replicas are “outrageous”.

There are fears that plastic gondolas on the canals and backwaters would push the city further down the path of becoming a pastiche, theme park version of itself. Last year, the provincial government opposed the idea of introducing plastic poles to replace the wooden stakes guiding the gondolas for this reason.

“Safeguarding the tradition of the gondola, of the materials used to build it, is fundamental, given that we recently heard that a shipyard is thinking of making them out of plastic,” said Aldo Reato, the president of the gondoliers’ association. “Whatever can be done to safeguard the tradition is positive.”

Along with the gondola, Venice plans to submit its famous Carnival, lace-making on the island of Burano and glass-blowing on the island of Murano to the Intangible Cultural Heritage list.