What you need to know about a timed auction:
The lots close at a rate of one lot per minute. Lot 1 will close at 1pm or 1:01. Lot 2 will close a minute after. Lot 60 will close at approx. 2pm. EXCEPT if there has been active live bidding within 5 minutes of a lot's slated closing time. In that case a lot could stay open until 5 minutes have elapsed since the last bid.
If Lot 3, for example, has active bidding within the 12:57--1:03 time frame, Lot 3 could conceivably stay open an extra hour if active bidders continue to raise the bid. It will stay open until there is no bidding for 5 minutes. Lot 4, however, will close at its slated time of 1:04 unless it, too, has active bidding.
Gerrit Beneker (1882-1934)
IN 1905, FOLLOWING THE WINNING of the New York Herald’s Easter Prize, Gerrit Beneker left the Art’s Students’ League and set out his career as an illustrator. As the story goes, he was wandering down Fifth Avenue when he paused to watch a grimy workman, cooly mount a steel girder and ride it to the top of a new skyscraper. The poise and nerve of that man impressed him deeply. “THERE WAS ROMANCE in that chap — the romance of the skyscraper and the men who built such wonderful structures.” The painting, The Roughneck, was taken to the editor of a prominent weekly, who bought it on the spot. Beneker’s career as a specialist in the interpretation of men at work had begun. BENEKER’S ILLUSTRATED MAGAZINE COVERS from 1905 to 1919 convey his fascination with the emerging industrial activity — images of men building bridges, skyscrapers, canals, battleships and tunnels. Following The Roughneck, he did a series of ads for Niles, Bement & Pond Co., including Building a Skyscraper. BENEKER LOVED TO CRAWL in the trenches, climb the girders and bridges, and get to know the work and workers first hand. In 1912, he secured an important commission from Scientific American for research oriented illustrations, including the construction of the Panama Canal. IN TWO SHOVELS, BENEKER CONTRASTS the use of a handshovel by a nonchalant worker to that of a large steam shovel, as if to emphasize the cooperation between man and machine, “The fine use of impact to emphasize the textures of rock and smoke, demonstrates that Beneker had achieved a command of his painter’s craft by this time.” ( Sweeney, J. Gray, Artists of Grand Rapids, Grand Rapids Art Museum, 1981) IN 1915 BENEKER WROTE HOME to his parents, “The illustration game has deteriorated something awful in the last 10 years. Everything is as silly, pretty, pop-eyed girl, and I cannot draw them. It would break my heart if I could. Others get $300 a head for these girls, which they can do in 3 hours time, while I have to spend two weeks my industrial subject and get only $75 for it.” IN SPITE OF THESE FRUSTRATIONS, Beneker held true to the work that interested him and continued to network New York advertising agents throughout his career.Between the years 1911 and 1914, Beneker painted a series of nearly 30 covers for BASEBALL MAGAZINE. Included among them were covers depicting Ty Cobb and Cy Young.
Source: Courtesy of the Provincetown Art Association and Museum,
MOMENTS IN TIME/ GERRIT A. BENEKER, A RETROSPECTIVE,
July 11- September 7. 2003,
© 2003 by the Provincetown Art Association and Museum