SOLD! A Striking Craniometer, Maybe the Only Surviving Example of Its Type, Commands $12,300 at Skinner–More Than Double Its High Estimate

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Update: The late 19th century lacquered brass craniometer sold for $12,300–more than double its high estimate.

 

What you see: A lacquered brass craniometer, made in the late 19th century by the German company C.F.H. Heineman. Skinner estimates it at $4,000 to $6,000.

 

The expert: Jonathan Dowling, a specialist in the clocks, watches, and scientific instruments department at Skinner.

 

What’s a craniometer, and how was it used? As it looks, it was to measure skulls. In the 18th and 19th centuries, it was once believed that the shape and size of the skull indicated knowledge. The belief was called craniology. It was a pseudoscience along the lines of phrenology. The craniometer tried to measure each little undulation in a skull. That’s why there’s so many of those spikes. They measure a quarter of an inch to three-quarters of an inch.

 

Craniology imputed moral character to the size of the skull? That’s a good way of putting it. A bigger skull was considered a better skull.

 

This tool was made in Germany. Was craniology most popular in Germany? I would not say that. Braunschweig, Germany was a well-known area for producing medical instruments. This might be the only surviving example. Many think there was a very limited run because of the quality.

 

Are the parts of the craniometer labeled in German? No.

 

So we don’t know what qualities the craniometer was supposed to measure? It is a mystery. It all depends on where you chose to put the skull.

 

Why does the craniometer look like this? Why are the pins the length that they are? I think the pins are of this length to accommodate different sizes of skull. And you have to have a skull. You could not put a person in this.

 

Does the skull rotate or spin within the brass rings? The skull itself does not rotate. But the brass column can be turned manually, 360 degrees.

 

How were craniometer measurements taken? Around both spheres, there are numerical engravings. Let’s say you’re using the pin through number 17. You measure, you mark, you pull out the pin, and that gives you a measurement for where the pin falls on the skull for number 17. Number 17 is some sort of moral aspect.

 

Are you auctioning it with or without a skull? The skull is for display. It’s a real skull, a human skull. It is part of the lot.

 

How many pins are there? I think there are 40 pins. Down below the turned column, on the brass plate mounted in the ebony base, there are holes to hold the pins.

 

What are the tips of the pins made from? Bone. Turned bone.

 

Why? That’s not an obvious choice. I think it’s where the quality of the piece surpasses the average piece. The quality of it takes it to a different level.

 

Have you seen other craniometers? How do they measure up to this one? I haven’t seen others in person, but I have seen them in my research. They’re very crude. They’re less intricate, less detail-oriented. With this one, the tolerances are so tight where the pins go through the uprights–that’s a mark of quality. The castings of the rings are very well done also.

 

Can we tell if it was made for someone in private practice, or as a teaching model? We cannot tell. In my research, I was not able to find the purpose for this. I don’t know if it’s for a doctor or a teaching tool.

 

How did the craniometer come to you? This, along with several of the lots in the sale–a few phrenology heads, a medical teaching model–came from a private collector in Massachusetts.

 

Why will this craniometer stick in your memory? The sculptural quality. That’s how I look at it. As a craftsman myself, the quality of the instrument says something to me. I don’t know if I’ll ever handle another piece like this.

 

How to bid: The craniometer is lot 560 in the Clocks, Watches & Scientific Instruments sale at Skinner on April 20, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Skinner.

 

Jonathan Dowling spoke to The Hot Bid in 2017 about a unique mid-century model airplane that ultimately sold for $11,070 at Skinner.

 

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RECORD! A Dutch Silver Masterpiece by Adam van Vianen Sells for $5.3 Million at Christie’s

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Update: The Adam van Vianen silver ewer sold for $5.3 million–a world auction record for the artist, and for any piece of Dutch silver.

 

What you see: A silver ewer created by Dutch silversmith Adam van Vianen in 1619. Christie’s gives the estimate as on request, but it could sell for seven figures.

 

The expert: Harry Williams-Bulkeley, Christie’s European head of silver.

 

What is a ewer? Why might Adam van Vianen have chosen this form? A ewer is a jug. This ewer is not standard. Work by Adam van Vianen was only in the richest homes. One should think of this as a work of sculpture, though it’s of ewer form. It’s made from a single sheet of silver. It’s an extraordinary demonstration of how he was able to manipulate silver to create fluid forms.

 

Adam van Vianen signed and dated the ewer in addition to placing his maker’s mark on it. Why might he have done that? He wanted to be seen as a sculptor in precious metal rather than a producer of workaday objects. This is not meant to be used. It’s meant to be marveled at.

 

Was this ewer commissioned? Do we know? It’s possible it was commissioned for presentation. The choice of the Marcus Curtius narrative [A Roman tale of a soldier who sacrificed himself to save the city] suggests a display of bravery, sacrifice, and loyalty. It may have been presented to a military figure. It could have been Prince Maurice of Orange, who liberated Utrecht, which was van Vianen’s hometown. It’s conjecture, but it’s a possibility.

 

How rare is it for an Adam van Vianen piece to come to auction? Incredibly rare. Two years ago, Christie’s had a plaque by him with a scene on it. Prior to that, we had a small sweetmeat dish in 2001.

 

Do we know how many pieces Adam van Vianen made? A survey done by a Dutch academic notes 22 items either signed by him or bearing his maker’s mark. Of those, only two [in addition to the ewer] are in private collections. One is a beaker, and the other is a sweetmeat dish. Van Vianen’s brother and son worked in a similar style. If a piece is unmarked, it can be attributed to the family.

 

Did Adam van Vianen work alone, or did he have a team? There’s always that 19th century romantic image of silversmiths working alone. Van Vianen would have worked with shop assistants on manufacturing, but the ewer shows his individual skill at manipulating metal. And he signed and dated it, which is unusual.

 

He would have produced the decorative elements on the ewer through a technique called ‘chasing.’ What, exactly, would he have done? Here, he’s working with very pure silver, softer than sterling standard. If you hammer the silver, you give it tensile strength. If you heat it to pink-hot and quench it, it’s soft again, and you can work with it [you can fashion the decorative elements on the ewer]. It’s an incredibly long process to work it again and again–it’s so intricately chased.

 

I realize we can’t hop in a time machine and watch him work, but is it possible to tell how long he would have worked on the ewer? Would it have been, say, two months or more? Yes. Something as important as this would have been a real focus for him.

 

What is it like to hold the ewer? It’s incredibly tactile. Once you pick it up, you want to keep on turning it. The eye just dances across it.

 

Is it heavy? No. Because it’s so beautifully made, it feels like it’s the right weight. Heaviness would imply that it was cast, which makes it a different object, created with a different skill.

 

Do you have a favorite detail? That face peeking out from under the foot [of the ewer], because it’s so unexpected. It’s the last place you’d expect to see a human face. It’s looking out at you, and it has an ambiguous expression. [The face is shown in the fourth image on the lot page.]

 

Why will this silver ewer stick in your memory? As an object, it’s incredibly rare. This is the last chance for the market to acquire something of this importance by Adam van Vianen. It captures everything he’s known for–technical skill and extraordinary imagination. Work by the van Vianen family of silversmiths has never ceased to be celebrated. It’s like an incredible piece of jewelry, something to be marveled at.

 

How to bid: The Adam van Vianen silver ewer is lot 21 in the Exceptional Sale at Christie’s on April 20, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Christie’s.

 

See a Christie’s video of Harry Williams-Bulkeley showing and talking about Adam van Vianen’s spectacular silver ewer.

 

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Will This Tremendous Mike Japanese Robot Toy Post a Tremendous Result at Bertoia Auctions?

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What you see: A Tremendous Mike robot toy, with original box. Bertoia Auctions estimates it at $6,000 to $9,000.

 

The expert: Auctioneer Michael Bertoia of Bertoia Auctions in Vineland, New Jersey.

 

Why was this robot toy called Tremendous Mike? Lots of Japanese toys used goofy names. There was Magnificent Mike, a few different Mikes, a few American names. Arguably, it was made for the American market–that’s why the language on the box is in English.

 

Do we know how many Tremendous Mike toys were made, and how many survive? We can’t even take a guess at how many were made. How many are around–that’s easier to take a stab at. I know of at least a dozen in circulation, and that doesn’t include those that are tied up in collections. It’s important to note that what makes the difference between being worth $2,000 or $3,000 versus being worth $10,000, what makes it swing, is its condition, if it has its box, and if the original antenna is still on the top of its head. This guy is fresh, in stellar condition. That’s why it’s so valuable. It might even be old store stock.

 

And the fact that the original box survives too–does that point to it possibly being old store stock? Exactly. What’s helpful on this box compared to other toy boxes are the graphics. Its a pretty, colorful box. The artwork is not just a sticker on the front of the box. It’s on the sides, too.

 

How rare is it to see a Tremendous Mike with its original box? In the last decade, I’ve only seen a few box examples. In general, a robot with its box is harder to come by than a loose example. I know of one Tremendous Mike with box offered through an auction. There was one on eBay a few years ago as well. Those are the only two aside from this one. That said, there’s a little more than a handful of these robot toys without their boxes that have surfaced in the last few years.

 

What’s the condition of the box? Does its condition matter, given how rare it is for a box to survive at all? In the high-dollar collectors’ market, every scratch matters. The condition of all the pieces and parts are relevant. This box is in really impressive condition. It has a little tear on a flap. The robot is in better shape than the box. The toy doesn’t look like it’s had much play.

 

How did the toy and its box survive in such good condition? I often joke that maybe a really bad child had it, because it wasn’t played with often. It’s possible that the robot had several homes throughout its life. It’s hard to believe it would survive years of children playing with it. Maybe the child had a lot of toys and didn’t play with this one much. Often when you see a toy this crisp, and the box is complete, not folded or crushed, that’s an assumption that can be made.

 

Tremendous Mike is a wind-up toy. What does he do when you turn his key? The wind-up mechanism is pretty cool. Tremendous Mike had action–he was not a simple forward-and-back moving toy. The red glass window in his chest sparkles as he rolls. The satellite dish on his head spins and changes direction after he rolls for a certain distance.

 

Tremendous Mike came in two body colors–red-orange, and grey. Are they equally desirable, or do collectors like one color more than the other? They have the same red accents on both. Red pops a lot more strongly off the grey. It’s a better visual than the red-orange.

 

How many times has Bertoia handled a Tremendous Mike? This is the first time in a decade.

 

What’s the auction record for a Tremendous Mike with box? It belongs to a red-orange version of the toy sold by Morphy’s in May 2015 that commanded $13,200. (Scroll down to see it.)

 

Could this Tremendous Mike with box beat the auction record, do you think? It certainly could. It certainly deserves it. The underbidder [at the Morphy’s 2015 auction] would be satisfied to acquire this example. It’ll take two to make the numbers.

 

Why will this toy stick in your memory? Other than my appreciation of the fine name of Mike, it’s very seldom, given the quantity and volumes of toys we handle on a regular basis, that we have to look at one for a long time and research it. If it stumps us, it stands out, because it’s a challenge. I appreciate the challenge. I like to be stumped.

 

How to bid: The Tremendous Mike with original box is lot 0050 in Bertoia‘s Signature Sale on April 27 and 28, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Bertoia Auctions.

 

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SOLD! Woodworker Sam Maloof Made Maybe a Dozen Double Rocking Chairs. Bonhams Just Sold One for $35,000

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Update: The Sam Maloof double rocker sold for $35,000.

 

What you see: A double rocking chair, created in 2006 by the late American studio furniture artist Sam Maloof. Bonhams estimates it at $30,000 to $50,000.

 

Who was Sam Maloof? The California-born woodworker was the first professional craftsman to earn a MacArthur “Genius Grant” fellowship. He learned the fundamentals of his trade in high school and opened a workshop in 1948, after marrying and returning from World War II. Best known for his chairs, Maloof’s furniture resides in the collections of the Smithsonian American Art Museum, the Metropolitan Museum of Art, and the Philadelphia Museum of Art. He worked until he died in 2009 at the age of 93.

 

How many double rocking chairs did Maloof make? “There are around a dozen known,” says Jason Stein, Director of Modern Decorative Art & Design at Bonhams Los Angeles, noting that about four of those are in institutions. “There are very few in private hands. This is the first we know of to ever come up in the auction format.”

 

How hard was it for Maloof and his team to make a double rocking chair? “These pieces took a solid month to produce,” he says. “It’s more complicated, with way more spindles in the seatback. There are 13 spindles on this one, and Maloof double rockers normally have 13 to 15. A single rocker only has seven. Everything on a double rocker takes longer.”

 

When did Maloof start making double rocking chairs? “They came into play in the early 1990s. The single rockers started years before,” he says. “When he was fully developed in his craft, he was confident to make a piece like this.”

 

What details distinguish this particular double rocking chair, and what distinguishes Maloof’s furniture overall? “It has pronounced horns at the top, and the sleighs at the bottom come up beautifully at the back. It’s the most expressed version of this chair,” he says. “It’s incredibly sculptural, yet ergonomic. It’s a beautiful piece of art that you can also sit in. That was a thing with Maloof. He was a craftsman’s craftsman.”

 

This double rocker is made from walnut. Does that make it more desirable to collectors? “Walnut was his wood of choice,” he says, adding, “Throughout the American studio furniture movement, the majority of the works are made from walnut. They take advantage of the beautiful grain. You can create amazing compositions by working the grain.”

 

Have you sat in the double rocker? “Yes. It’s beautiful,” he says. “It’s something that’s incredible to look at and sit in and to feel, to touch. It’s highly tactile. It’s an interactive experience to sit in a piece of Maloof. You want to sit in it. You want to stay in it. It’s not just a sculpture. It’s functional.”

 

Have you sat in the double rocker with another person? “I have not,” he says. “But in looking at this chair, each seat in it is fully pronounced. It’s made for two. Each seat will totally support a person. They won’t spill into each other.”

 

What’s the auction record for a piece of Sam Maloof furniture, and what’s the record for a Maloof rocking chair? The overall record belongs to a conference table and a set of ten chairs, which sold at Bonhams for $194,250 in March 2006 against an estimate of $70,000 to $90,000. The Maloof rocking chair record was also set at Bonhams in April 2012 by a chair made in 1986 that fetched $80,500. Its estimate was $30,000 to $50,000. Both record-setting furnishings were made from walnut.

 

How have you seen the Maloof market change over time? “When I started in the early 1990s at Butterfield & Butterfield, single rockers were $12,000 to $15,000. There’s been an ascent over the years,” he says. “It’s always popular, and we’re always excited to get pieces by him. This time we have four lots by Maloof, including a single rocking chair.”

 

Why will this Maloof double rocking chair stick in your memory? “This is the first time I’ve had the opportunity to work with this form–to be with it personally, to be near it, and to work with the consigner to bring it up for auction. It’s an exciting moment for an auction house specialist,” he says. “And it’s exciting to see where the market is going to take it, where it’s going to go, and who’s going to acquire it. I’m curious if it’s going to go to an institution or a private collector.”

 

How to bid: The Sam Maloof double rocking chair is lot 236 in Bonhams‘s Modern Decorative Art + Design auction on April 17, 2018 in Los Angeles.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Bonhams.

 

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Wow! Heritage Sold a 1964 Fender Stratocaster Destroyed On Stage by Pete Townshend for $30,000

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Update: The 1964 sonic blue Fender Stratocaster smashed on stage by Pete Townshend sold for $30,000.

 

What you see: A 1964 sonic blue Fender Stratocaster “smasher,”–a guitar played on stage and smashed by Pete Townshend of The Who–on December 1, 1967 at Long Island Arena in Commack, New York. Heritage Auctions estimates it at $15,000 to $20,000.

 

Who is Pete Townshend? He’s the lead guitarist and lead songwriter for the legendary British rock band, The Who, which played its first concert in 1964. Townshend also first smashed a guitar on stage in that year. The band’s hits include My Generation, Baba O’Riley, Won’t Get Fooled Again, Magic Bus, and Pinball Wizard, a song from the 1969 rock opera, Tommy. Townshend will turn 73 in May 2018.

 

How rare are genuine stage-played 1960s-era smashed Pete Townshend guitars? “Very rare,” says Garry Shrum, director of entertainment and music memorabilia for Heritage Auctions. “Usually Pete smashed a guitar until it was in shreds. I know a couple of collectors who own multiple stage-played guitars. I know one guy who bought several smashers to make one whole guitar–he Frankensteined it together. But it’s very rare to find one from the 1960s. People didn’t keep them. If it was in the crowd, it was a dive-fest. People wanted a piece of that guitar.”

 

How many Townshend smashers have you handled? “Two, and I’ve been at Heritage for 14 years,” he says. “Before that, I had a shop for 30 years. People brought in smashers to share with me, but they wouldn’t let me buy them off them.”

 

Has anyone tried to document how many times Townshend smashed a guitar on stage? “There’s got to be something, somewhere. Someone might have tried to document it, but I have not seen it,” he says. “I wish I had the answer, but I don’t. But he smashed guitars hundreds of times.” [After we spoke, I found a heroic stab at a list on thewho.net. Scroll down for the link.]

 

I was going to ask if this smasher was worth less because it isn’t complete, but hearing you speak, I get the impression that it’s unusually complete. “Exactly. You have to get the neck and some pickups to make it complete, but you generally don’t get that chance at all,” he says. “It’s a great piece of music history. Over the years, other people have broken guitars on stage, but it was all spawned by Pete in the ’60s.”

 

Townshend smashed hundreds of guitars on stage? Didn’t that get expensive after a while? “In the early years, he used cheaper guitars, but it got expensive,” he says, noting that Fenders “were imported to the U.K., and the pound versus dollar exchange made it more expensive for him. Probably £400 to £700 for a guitar every time he picked one up.”

 

This smasher doesn’t have a neck, but it does have its neck plate, which contains the guitar’s serial number. Does that help prove that Townshend played it and smashed it on stage? “In most cases, you don’t see the neck plate. You see half of a guitar. Once he started breaking it, the plate went because of the neck,” he says. “Pete would throw the whole thing into the crowd, and people would rip it to pieces. Somebody got the plate, somebody got the pickups, somebody got the headstock, somebody got the strings. The neck plate helps date it. It’s a stronger provenance of the time period. But there’s no way to trace it back [to Townshend]. After two or three years, music stores threw out their paper receipts. There was no reason for them to keep them. Guitar-collecting didn’t get serious until the mid-1970s.”

 

Is it rare for a smasher to have accompanying documents, as this one does? [It comes with a ticket stub from the December 1, 1967 show and a two-page handwritten account of how the original owner caught it.] “That’s rare, and that’s so cool, because we can date it,” he says. “A lot of times it’s a hearsay story. When you have other pieces of paper, a paper trail, it’s more exciting to talk about. You can close your eyes and picture the whole thing happening.”

 

Are Townshend smashers worth more than stage-played guitars that he didn’t smash? “No. An original 1964 Fender Stratocaster is worth money on its own, without a Pete Townshend provenance,” he says. “They sell for $16,000 to $20,000, depending on condition. If Pete played it during that period, it’s easily over $100,000. This is broken. We hope it’s worth $15,000 to $20,000, maybe more. All it takes is two people to push it up.”

 

What’s the auction record for a Townshend smasher? Is it higher than the record for an intact Townshend-played guitar? The auction record for a smasher as well as an intact guitar appears to belong to a lot sold at Bonhams London, Knightsbridge in December 2015. It contained a pair of Rickenbachers–one whole and one destroyed on stage during The Who’s 25th anniversary tour in 1989, along with a signed November 2014 statement from Townshend about them both. The lot sold for £52,500, or $73,934.

 

You set the opening bid for this guitar at $10,000. Why? “The consigner hopes to get at least $10,000,” he says. “We wanted it in the auction because it was such a cool, rare piece. You can’t go on eBay and find it. That’s not gonna happen.”

 

Why will this Townshend smasher stick in your memory? “I have certain bands I admire. I had a shop, and I had the advantage of going backstage to meet people,” he says. “In 1970, I hung out with The Who on the fifth floor of the Hilton San Diego. My wife was 17, and I was 18. It was one of those time periods when I thought, ‘Is this really happening? I’ve spent three hours talking about music with John Entwhistle.’ Keith Moon was doing crazy stuff. Pete and Roger didn’t stick around. They had girls. Anything from The Who that comes in makes me think about the time I spent then. It’s part of my history with music, and with the band itself.”

 

How to bid: The Pete Townshend Fender Stratocaster smasher is lot #89636 in Heritage Auctions‘s Entertainment & Music Memorabilia Signature Auction on April 15, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Heritage Auctions.

 

By clicking through to the lot, you can also see a photograph of Townsend playing the guitar in classic windmill style on stage, as well as images of the handwritten account of the December 1967 concert.

 

The folks behind thewho.net have assembled a list of guitars that Pete Townshend smashed over the years. The guitar being auctioned at Heritage is included.

 

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SOLD! A Late, Unknown American Abstract Expressionist Who Was Inspired By the Cave Paintings at Altamira Gets His Due at Rago

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Update: The Louis Tavelli tryptic sold for $5,625–a new auction record for the artist.

 

What you see: Untitled (hunters and bulls), a 1991 tryptic by Louis Tavelli. Rago Auctions estimates it at $4,000 to $6,000.

 

Who was Louis Tavelli? He was an American musician and abstract expressionist whose art career spanned six decades. Born in Williamstown, Massachusetts, which is home to Williams College and the Clark museum of art, he mostly lived there and in Woodstock, New York throughout his life. Tavelli’s earlier works were influenced by music, but a 1983 trip to Spain with his chamber music group changed him forever. He took a side trip to Altamira, a cave decorated with paintings that are at least 15,000 years old, and after that, his artworks reflected the effect that the ancient, unnamed cave paintings had on him. Tavelli sometimes staged one-man gallery shows and participated in museum shows, but it’s unclear if he ever had steady gallery representation. He died in 2010, at the age of 96.

 

This tryptic is monumental–each of the three panels measures 59 1/2 by 36 inches. Did Tavelli normally work at that scale? “He did like to work big like this,” says Arlen Sam Brown, design specialist at Rago. “He created art his whole life, and it morphed into a graffiti-like style. His earlier works paid homage to music. But there was definitely a switch, a change, and he went a little more Basquiat-like.”

 

This belongs to Tavelli’s Indigenous Peoples Series of works, which he started after viewing prehistoric cave paintings in Altamira, Spain. Are all of the pieces from the series as large? And how many pieces are in the series? “He did do other pieces that were large, but they’re not all on that scale. He did works on paper as well,” she says, noting that there are at least 60 to 70 works in the series.

 

It seems like Tavelli didn’t concern himself with promoting or selling his work. The earliest auction result for him is in 2011, a year after his death. Was he only discovered as an artist after he died? “He had local showings, and he did exhibit his work, but he remained regional. It was not shared publicly until he passed away,” she said, noting that his output is still being cataloged. “What’s exciting about this work is it came to market in a strong capacity. We’ve had the good fortune to roll his work out on a stronger scale, and we’ve had good results.”

 

Rago set the world auction record for Tavelli in June 2017 with an untitled, undated mixed media collage on paper that sold for $4,063 against an estimate of $800 to $1,200. Was that work also part of his Indigenous Peoples Series? And what are the odds that Untitled (hunters and bulls) will set a new auction record for the artist? She says the mixed-media collage is from the same thematic series, and says there’s a “strong likelihood” that the tryptic will break the record.

 

Untitled (hunters and bulls) is estimated at $4,000 to $6,000. Did its large size have any influence on its estimate? “Its size informs the estimate, but it’s not what made the decision,” she says. “We had a discussion with [the consigner,] whose perception was, ‘It’s three times the size, so it should be three times the estimate.’ That’s not the case… We truly believe in being very grounded in our estimations. We believe in basing them on auction results. While Tavelli is being well-received, we maintain our integrity. He’s a relatively unknown artist. I’m not sure if you’d call him an emerging artist. You don’t need to be young to be emerging.”

 

Where do you think the market for Louis Tavelli works is going? “I think the notion that it’s still being shaped is very accurate,” she says. “It’s limitless because it’s fresh. I’ve been pleased and surprised by the reactions to each sale. Tavelli is getting more attention with each one, which is cool.”

 

Why will this work stick in your memory? “It stops you in your tracks, no question,” she says. “It’s a pretty intense piece. The people are almost stick figure-like. It’s almost like a cave drawing.”

 

How to bid: Untitled (hunters and bulls) is lot 2214 in Remix: Contemporary + Classic, a sale taking place at Rago Auctions on April 7, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Rago Auctions.

 

Louis Tavelli has a website.

 

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SOLD! A Unique 1954 Japanese Movie Poster for Akira Kurosawa’s Seven Samurai Fetched $22,705 at Heritage Auctions

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Update: The 1954 Japanese movie poster for Seven Samurai sold for $22,705.

 

What you see: A 1954 Japanese movie poster for Seven Samurai (Shichinin no Samurai). It is the only known example of its type. Heritage Auctions estimates it at $20,000 to $50,000. The kanji on the poster translate to: “The dream awaited by 70 million finally has come true! A massive spectacular samurai drama which is created, for the first time, by the fighting spirit of the Maestro!”

 

Do we know how this Japanese movie poster for Seven Samurai was discovered? Grey Smith, director of vintage movie poster auctions at Heritage Auctions, says it came to him via a friend who knew the owner. The poster had been in Japan from 1954 until three or four months ago. “I’d never seen it before,” he says. “I’m not aware of another copy.”

 

The poster is 21 inches by 58 inches–long and skinny. I’m wondering if this is a standard size for a Japanese movie poster, or if the poster was made at this size to imitate a Japanese scroll or painting. “You would think it might, but it was a commonly used size in Japan,” he says, adding that it’s comprised of two panels that are stacked on top of each other. Look for the samurai dressed in a green top and brown pants at the center of the poster, and you’ll see the join. (The samurai’s left hand doesn’t quite line up with his wrist.)

 

Is the design of the Seven Samurai poster typical for Japan in 1954? “I’ve always admired Japanese movie posters from the ’40s, ’50s, and ’60s,” he says. “They were ahead of their time in photo montage work, they really were. America just wasn’t as interested in movie posters then, and you can see it. All the interest was in television by then. Compare it [the Seven Samurai poster] to Cat Ballouthat poster is totally lackluster.”

 

I’m pleasantly surprised that women appear on the Seven Samurai poster. I was under the impression it was a manly-man type of movie. “It had romantic elements, but it was a male-dominated film about war,” he says, adding that featuring women on posters was not unusual in Japan in 1954: “On Japanese posters from the ’50s and ’60s, 85 percent of the time, there’s a female lead on it.”

 

What condition is it in? Heritage Auctions calls it Very Fine – (Minus), which Smith deems “A pretty good grade. It was folded. Most Japanese posters were. It has little nicks and dings in it. But it doesn’t need to be archivally restored. You could frame it like it is.” He also explains that in Japan, theatre owners sometimes stuck a snipe–a piece of paper that listed specific screening dates–to the bottom of a poster. Posters can suffer damage if someone tries to remove the snipe, but it doesn’t look like a snipe was applied to this Seven Samurai example.

 

We’re talking on March 20, 2018, and this poster already has a bid of $10,000 on it. The auction is almost three weeks away. How do you think the poster will do? “I hope it will be north of $25,000 or $30,000, but we just don’t know,” he says. “I think the estimate was $20,000 to $50,000. I’ll be disappointed if it sold for under $20,000.”

 

Do you know what the auction record is for a Japanese movie poster for a Japanese film? “I don’t know. It’s hard for me to say specifically, but in 2005 at Heritage Auctions, I sold a 1954 Godzilla poster for $21,850,” he says.

 

What will make this Seven Samurai poster stick in your memory? “I’m excited about it because it’s never been seen before,” he says. “Personally, I always love to get new items into auction.”

 

How to bid: The 1954 Japanese movie poster for The Seven Samurai is lot #86137 in the Movie Posters Signature Auction at Heritage Auctions on April 7 and 8, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Heritage Auctions.

 

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