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Maud Morgan, Abstract

Parenthood requires a lot of love, but no DNA. There’s no happier moment than finding the new forever home for what we foster every week.

A recent liquidation sale in Beacon Hill reminded us why we equate our services with foster care. The bond that we develop, both fleeting and rewarding, enables us to award each item a caregiver and our intervention has a profound impact on our client, the community and the welfare of possessions.

Historic Chestnut Street on Beacon Hill

This Neo Gothic building was erected as Robinson Chapel, part of Boston’s University’s School of Theology.

Inside it boasts the juxtaposition of history and modern living where our client, a renowned Dancer, lived with his partner of 65 years, an African parrot and a carefully curated collection of art. When we arrived at the home it showed signs of celebration and grief, it was a bit chaotic, and the executor was tasked to manage what remained. We knew that our wraparound services, including old fashioned elbow grease, an influx of knowledge and precise marketing, could relieve our overburdened client.

Patrons waiting to gain entrance opening day!








It’s important to understand how we as estate liquidators can encourage each item to reach it’s highest potential.

Each item in this collection demanded a personal call to action. Amidst broad colorful strokes, a man appeared from within an abstract piece of art. He became our ward.

He blossomed within minutes of our intervention and reminded us to an underlying theme of every estate sale venture: our service should provide the tools for a new beginning.

Abstract, after taking a step back we were able to correct it’s orientation

Identifying any artist is a joyous reunion between the creator and the creation.

Japanese artist Mitsuaki Sora

With only five days to the start of our sale it was useless to attempt to master Japanese so we employed our resources to read the artist’s name on these wood sculptures, dated 1972.

Wood Block Print

Releasing the name of the artist, Mitsuaki Sora, from it’s character signature was a reconciliation between the artist and his work. Here’s one of his wood block prints. His large scale sculptures are featured at the breathtaking Utsukushi-ga-hara Open Air Museum. It’s situated on a 2,000-meter-high plateau surrounded by snow-capped mountains of the Japanese Alps.


Foster care lends itself to expect the unexpected.

Hidden beyond the public view is one of Beacon Hill’s legendary courtyards. Hidden in the depths of the basement is a storage locker from which, after being locked inside for decades, a child appeared. This Julia Thecla, titled “I Remember, I Remember”, was purchased by our client in 1946 in Chicago. He was only 19 years old.

In 2016 Thecla’s art was resurrected, with record auction results, as part of a growing focus on forgotten American artists. This young lady now resides with a collector in her home town of Chicago.

Hidden Courtyard
Julia Thecla

New life starts in the dark.

After we were able to gain the trust and learn the secrets of almost every piece in this collection we were still in the dark with these three.

From the dark, behind a pesky drawer that would not close, we produced a letter from the deceased. Handwritten on a yellow legal pad sheet was a list that included the name of this mystery artist. Marcia Marcus is another artist, like Thecla, that could be categorized as an “invisible”. Both women, their art and it’s recognition are just being rediscovered. Read more about her life and work in recent articles in the New York Times and Art in America. Check out Marcus’ 2018 retrospective at the Eric Firestone Gallery. 



We can’t help but be thankful that the role we played was more of a dance than work and it enabled the true potential of this “stuff”.


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