RECORD! In May 2018, Heritage Auctions Sold Frank Frazetta’s Death Dealer 6 for $1.7 Million — a Record for Any Piece of Comic Art

SOLD $1,792,500 --WORLD AUCTION RECORD Frank Frazetta Death Dealer 6 Pa...

What you see: Death Dealer 6, an original painting done in 1990 by the late Frank Frazetta. Heritage Auctions sold it in May 2018 for $1.7 million, an auction record for the artist, and for any piece of comic art. (Also, scroll all the way down for a link to a Frazetta painting in an August 2 to August 4, 2018 auction at Heritage that could command $600,000 or more.)

 

The expert: Joe Mannarino, director of comics and comic art for Heritage Auctions. Mannarino and his wife, Nadia, were longtime personal friends of Frazetta’s, who died in 2010 at the age of 82.

 

So, for those who don’t know, can you give an introduction to the work of the Frank Frazetta, and explain why he’s such a big deal? He came to fame because he was originally an illustrator of popular culture. He grew up as a fan of Edgar Rice Burroughs’s Tarzan series, and he happened to get in a situation where he helped an artist who was doing the illustrated covers for reprints of Burroughs’s work in the early 1960s. One out of every three paperbacks sold [then] was an Edgar Rice Burroughs paperback, and many people bought them because of their covers. Later, Frazetta did the cover illustrations for Conan the Barbarian, and he revitalized the entire franchise. Then he was in demand, doing paperback covers, magazine covers, movie posters. Warren Publishing, a magazine publisher, said to him, “You come up with any image you want, and we’ll get a writer to write a story around it.” I can’t tell you how many people from so many different walks of life grew up with a Frank Frazetta poster on their walls. They spark the imagination. Every picture tells a story.

 

What do collectors look for in a Frazetta? Frank is known for the Four Bs. The first is beautiful babes–he has an eye for the beautiful. There are people who love his barbarians. There are people who love Burroughs and the sci-fi fantasy realm. And there are people who love the way Frank does beasts.

 

How did Frazetta hit upon the idea of the Death Dealer character? In the 1960s, he decided for himself–it wasn’t an assignment–to do a depiction of what he felt Death would look like.  No sooner does Frank do it than people think of ways to use the image. It was on the cover of a magazine, and on the cover of a record album. Frank was always surprised by this. The last thing he thought would be licensed was Death Dealer. It’s a feeling, it’s a mood.

 

How many Death Dealer images did he paint? He was always looking for licensing deals. He was asked if he could do more images with the same character. He did six, five of which were published as paperback covers [of Death Dealer novels]. The last one, number six, never came out. It was cancelled after five issues.

 

How does Death Dealer 6 compare to the other five? The first Death Dealer is very intense. It’s motionless. It has great gravitas. You feel the intensity there. The others depicted scenes in a novel. He is a character almost like a barbarian. Death Dealer 6 captures a lot of what Frank is known for. He hated art that was stiff. Look at the horse, and look at the guy’s arm. Nothing there looks overworked or stiff. It has tremendous visual appeal. That’s what his art is about.

 

And Death Dealer 6 is the only Death Dealer painting to go to auction? Yes. The family has the other five.

 

How often do Frazetta paintings come to auction? He was fanatical about keeping his original art. He felt his art was going to be more valuable. He kept 80 to 90 percent of what he produced. None of the [other] Death Dealers have been sold. His key paintings were always in his museum. Then he passed away. His wishes were that his museum continue, but his kids had other ideas.

 

So his paintings started to come to market after he died? He would agree to sell things sporadically [while he was alive]. The first time he sold a lot of material, it was the mid 1990s. He sold eight or nine paintings.

 

How prolific was Frazetta? He wasn’t. That’s a misconception. He worked in any medium that you can imagine, but he considered himself to have 150 finished oil paintings, with maybe another 25 unfinished. Maybe he sold 30 prior to his death. He sold very infrequently.

 

What drove Death Dealer 6 to such a high price at auction? How much of that was because it was a Death Dealer image? A Death Dealer painting had never come on the market before, and Death Dealer is an original character created by Frank Frazetta [unlike Tarzan and Conan the Barbarian]. That was most of it. And the market has been escalating. With each painting we put up, we get more and more, and as comparables are rising, people are comfortable going up to the next stage. But if he had ever agreed to sell Death Dealer 1 in the 1990s, I could have gotten $1 million for it then. Frank just refused to sell his paintings. The only thing that ever held back the Frazetta market before was because nothing great came up for sale. If it had, the market would have gone up much quicker. But he wanted to keep them.

 

When did you know you had a new world auction record for a Frank Frazetta work? When it passed $1.1 million. It was very exciting, on many levels. First of all, you know you’re helping a consigner, and you see them get a lot of money–that means a lot to them. And knowing the artist, and knowing what it would have meant to him [to see a work of his cross the seven-figure threshold], means even more.

 

How long do you think this record will stand? What else could challenge it? If any of his more iconic paintings come to market, the market will be pushed, that’s for sure. We have yet to see some of the greatest Frazetta paintings come up for sale. I don’t know what will happen if they do.

 

What’s the likelihood that another painting from the Death Dealer series will come up? Impossible to say. It depends on the family’s needs and wishes going forward.

 

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In its Comics & Comic Art Signature Auction, taking place from August 2 to August 4, 2018, Heritage is offering Escape on Venus, a 1972 Frazetta painting for the cover of an Edgar Rice Burroughs novel. It could command $600,000 or more.

 

The Frank Frazetta Museum has a website. The original Death Dealer image is its logo.

 

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

 

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Quack! An Elmer Crowell Preening Black Duck Decoy Could Fly Away with $300,000 at Copley Fine Art Auctions

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What you see: A Phillips rig preening black duck decoy, carved circa 1912 by A. Elmer Crowell for his patron, Dr. John C. Phillips. Copley Fine Art Auctions estimates it at $200,000 to $300,000.

 

Who was A. Elmer Crowell? Born in 1862 in East Harwich, Massachusetts, he’s the king of American duck decoy carvers. Initially, he carved in the course of his work at duck-hunting camps, but over time, his magnificent wooden birds won fans who loved them as decorative objects. His decoys have sold at auction for six-figure sums, and two sold privately for more than $1 million each. Crowell died in 1952, at the age of 89.

 

The expert: Colin McNair, decoy specialist for Copley Fine Art Auctions.

 

Forgive me if this is a stupid question, but is this preening black duck a hen or a drake? Black ducks get a pass on being hens or drakes. 99 percent of the time, they’re just black ducks. This is just a black duck, with no clear designation on being one or the other.

 

It’s also described as being a “rig mate” to other duck decoys that belonged to the late Dr. Phillips. What does it mean for a decoy to be a rig mate? A rig is a group of birds [decoys] owned by and hunted over by one person. It doesn’t always mean the decoys are exactly alike, or made side by side. There can be a lot of variation, depending on how they were made and used. In the context of the Phillips rig, a decoy can be anything out of that group of rig mates. There are Phillips rig mates that look nothing like Crowell’s work.

 

Crowell carved and painted hundreds of decoys that depicted black ducks. Where does this one rank among his lifetime output? It’s among his very finest. As you mention, he did hundreds of them. This bird is as good as they come, in my personal opinion.

 

Did he carve the decoy from a single piece of wood? The bird is made of two pieces, one for the body and one for the head. One thing that makes the bird so strong is the masterful sculpture of the duck in a preening position. It’s not easy to capture well, and Crowell did it nearly perfectly. The finer details of the carving show Crowell’s tremendous effort to do his best work for his best patron. We see him coming into a sweet spot in his career–he was as good a carver as he would be, and this was on the early side of showing his command of his wet-on-wet painting technique, which gives a natural, soft look to the feathers.

 

This looks gorgeous enough to have been destined for a mantle, but the lot notes say it shows evidence of being used on a hunt… It’s a working decoy, and at the same time, it represents one of the best carved decoys in a decorative sense. The bird was hardly used. It was probably retired early because of an appreciation of its aesthetic qualities. I suspect the patron deemed it too precious to hunt over. What’s interesting about the Phillips rig is Crowell didn’t just make this decoy for Phillips, he was his stand manager. He created the decoys, and decided where they would be hunted, and how they would be hunted over. Crowell knew he was going to be involved with handling the decoy after it left his workshop. He wasn’t handing it over to a hunter who might break it. It’s unknowable, but it’s possible because of the relationship Crowell and Phillips had.

 

Do we know when Crowell made this decoy? He used a hot brand [on his decoys]. We can date his birds to some extent on the quality of the brand. Every time a brand is heated, it corrodes a little. Over the years, a brand can be seen burning out, leaving a softer and softer impression. It’s a great dating tool that Crowell inadvertently left behind. This has a perfectly crisp oval brand, which suggests it was 1912.

 

Carving the duck’s head to make it hover in a natural-looking way over the body seems difficult. Is it harder to carve a preening duck? You can think of a preener as the decoy maker’s deluxe model. It’s harder to carve and harder to paint. But it adds variety to the rig, making it look more lifelike as a group. An additional benefit is they’re less breakable because the body can protect the head. We have a 200-year-old decoy in the sale with an intact bill because it’s protected by the body in the preening pose.

 

What is your favorite detail on this decoy? When I look at this bird, the first thing it does is hold together as a phenomenal piece of sculpture. You can go from tip to tail picking out fine details that were expertly executed, but the bird is better than any one single detail.

 

What is it like to hold the decoy? [Laughs] Being in the presence of the decoy before handling it is a real pleasure. It’s excellent from every angle. And it feels just right in the hand. It’s full, robust, and you can feel the finer subtleties in the carving details. I wouldn’t change a thing.

 

To explain what a big deal it is to auction Donal C. O’Brien, Jr.’s collection of decoys and sporting art, can you draw an analogy to other notable auctions of lots consigned by great collectors? It would be somewhat like the Rockefeller collection or the Yves St. Laurent collection in its breadth and quality, and that’s been reflected in the market response to the birds so far.

 

Why will this Crowell preening black duck decoy stick in your memory? Crowell is a quintessential representative of great American bird carving. He was self-taught. He started making decoys because he needed to, and his working decoys led to the birth of American decorative bird carving. This bird is at the nexus of his carving career, where his working decoys became so good, they’re indistinguishable from decorative carving. He’s one of the best makers, making his best effort, carving one of his favorite species for his most important client. It fires on all cylinders from a historic standpoint and an aesthetic standpoint.

 

How to bid: The Crowell preening black duck is lot 14 in the Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Session III, taking place July 19, 2018 at Copley Fine Art Auctions.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Copley Fine Art Auctions.

 

Copley Fine Art Auctions appeared on The Hot Bid last summer in a post about a record-setting Gus Wilson duck decoy.

 

Quack!

 

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Hunt Auctions Has a Mickey Mantle Game-worn Yankees Cap That Could Fetch $100,000

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What you see: A game-worn Mickey Mantle Yankees baseball cap, circa 1968, size 7 3/4, inscribed by Mantle to his teammate, Tom Tresh. It also comes with a letter of provenance from Tresh, who died in 2008. Hunt Auctions estimates the cap at $50,000 to $100,000.

 

The expert: Dave Hunt of Hunt Auctions.

 

How rare is it to see any authentic game-worn garments from Mickey Mantle at auction, hats or otherwise? Game-used, game-worn, there’s different terminology used in our industry. Jerseys and uniforms come first, and that’s understandable, because [prior to the 1970s or so] there were a few sets issued per year [players got a home uniform and a road uniform each season], and few are in private hands. Then there’s hats and bats and the like. Hats are rare specifically because [provenance] is so hard. If you take a magic marker and write ‘7’ inside the hat, it could be attributed to Mantle. Here, the provenance is buttoned up. It’s so special. I’ve had two or three Mantle hats of any type over the last 26 years, and this is clearly the best one I’ve offered.

 

What makes this Mantle cap the best one you’ve offered? In today’s [Major League Baseball] world, everything is formally witnessed. It’s just different from the 1960s. You’ve got to get as close to the primary source as you can. To the degree that you can, this cap has every attribute that can be corroborated. You have “Mick 7” written underneath the bill with the inscription, “To Tom My Best Wishes, Your Friend Mickey Mantle.” You have a letter of provenance from Tom Tresh, his teammate.

 

Is it rare to have an inscribed game-worn hat from any well-known baseball player? I would say it’s unusual. You do see them.

 

How hard is it to document a period game-worn baseball cap? Fewer hats are documentable to the degree that meets [accepted third-party graders’] guidelines. We’ve had plenty of hats that could well be significant, but don’t have the documentation to prove it. We have one in the auction, a game-worn Brooklyn Dodgers hat with insertion plates [which were needed] because teams were beaning Jackie Robinson. A Brooklyn Dodgers employee gave it to his neighbor–we locked that up [that aspect of the provenance]. But there’s no 42 in it, and the size is off from Jackie Robinson’s hat size. [The lot notes state that the cap is 6 3/4, while Robinson’s documented hat size is 7.] It’s a beautiful hat, a rare hat with insertion plates. It may sell for $3,000 to $4,000, but if it had a 42 in it, it could be a quarter million plus. We clearly point out the inconsistencies that say that its not [not necessarily worn by Robinson]. That’s how to represent it.

 

How generous was Mantle with his game-worn hats? Did he give them away often? I don’t know. You do see, with a player of Mantle’s caliber, Hank Aaron, Willie Mays–they were the most popular people in the world. People sought them out and had access to the players and the field that we don’t have today. You could wait by their cars. Hats weren’t worth a lot then. It was a different world.

 

And Mantle gave this hat to Tresh because they were teammates? As far as we can tell. They clearly were teammates, they played during the same era, and they had a lot of chances to interact. What’s nice is there’s a personal letter from Tom [explaining how and when Mantle gave him the hat].

 

How do you know the hat dates to circa 1968? Yankee hats still are so stylistically similar to what they wear [now] that you go by tagging [period tags sewn inside the hat]. We had the advantage here of Tresh himself noting in the letter of provenance when he recalled getting it. The 1968 date is consistent with the tagging, model, and style. With the Tresh attribution, we feel comfortable in saying it’s circa 1968.

 

Game-worn clothes present a weird situation to collectors: you want them to show some wear, but not too much. What condition is the Mantle cap in? It’s very fine. It’s excellent. It’s not abused in any way, shape, or form. It does have cracking to the bill, which is normal. It has perspiration wear, but not abusively so. The top of the hat is navy blue in color, but muted. Why? Because of the sun. It’s a nice mix of honest use and the wear you want to see, but not with the condition issues that might hold the value down.

 

How did you arrive at the estimate of $50,000 to $100,000? It was actually a bit difficult. Mantle game-worn jerseys bring from a quarter of a million to $750,000. There are so few hats at this level that this hat–it’s tough. You could argue it’s $20,000 to $30,000. You could argue it’s $100,000 to $150,000. If it was a jersey, it would be one of the better jerseys.

 

Have you tried on the hat? No. Nope. (Laughs.) People have asked me that before with jerseys and hats, and I can honestly say in 26 years I don’t think I ever wore one. Not once.

 

How have you avoided the temptation? I don’t know. There’s nothing wrong with wearing them, but I don’t know. Maybe it’s baseball superstition. Maybe it’s reverence. Maybe it’s coincidence. But I don’t know.

 

As of July 6, 2018, bids on the Mantle cap have passed $15,000, with the close of the auction more than a week away. Does that mean anything? It really doesn’t. You can go through the auction and see things that are three times higher than the estimate already. It could sell for past that, or not any further. I wouldn’t say it’s completely irrelevant. It can be. But it’s by no means indicative of how it will end up.

 

Why will this Mantle cap stick in your memory? I’m a fan of the pieces of professional model equipment that have incredible provenance. When you have something so well-sourced, it not only does better at auction, you can go to the client and stand behind it and say this is the one to go for. On this piece, it’s the combination–it’s not just the “Mick 7,” or the inscription, or the size and the style being consistent with other Mantle hats, or the letter–it’s all of those things. It has all those boxes checked to make it one of the better pieces.

 

How to bid: The inscribed Mickey Mantle game-worn Yankees cap is lot 895 in Hunt Auctions‘s 2018 Live Auction at the MLB All-Star FanFest on July 16 and 17, 2018.

 

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

 

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WHOA! Sotheby’s Sold Canova’s Rediscovered Bust of Peace for More Than $7 Million

Canova, The Bust of Peace (side)

Update: Whoa! Canova’s Bust of Peace sold for £5.3 million, or slightly more than $7 million.

 

What you see: A Bust of Peace, sculpted in 1814 by Antonio Canova. Sotheby’s anticipates bidding in excess of £1 million, or $1.3 million.

 

Who was Antonio Canova? Born in 1757 in Possagno, Italy, Canova is the greatest of the Neoclassical sculptors and one of the greatest sculptors ever. You might not recall his name, but you’ve almost certainly seen his work–Psyche Revived by Cupid’s Kiss, The Three Graces, and Venus Victrix, to name three. (If you’ve been to the Louvre and managed to miss Psyche Revived by Cupid’s Kiss, go back, you did it wrong.) He died in 1822, at the age of 64.

 

The expert: Christopher Mason, director of the European sculpture and works of art department at Sotheby’s.

 

How rarely does anything by Canova come to auction, let alone one of his Ideal Heads? Very rarely. In the last 30 years at auction, I can think of only a handful of examples. Last year there was a bust of Murat in Paris. It sold for €4.3 million ($5 million). We had an Ideal Head in the early to mid-1990s. It sold for £750,000 and is now in the Ashmolean. Before that, there was one in the 1980s that went to the Getty. They’re very rare, as you can see from those examples.

 

The Bust of Peace belongs to a series Canova did that was dubbed the Ideal Heads. Why is that important? He produced very few Ideal Heads. He made them as gifts for patrons and friends, and that gave him a degree of freedom in the execution of his ideas. They’re different versions of what Canova considered to be beauty. Really what distinguishes the Ideal Heads is not facial characteristics, but the hair. This one is unique, and has uniquely beautiful hair. And it’s the only bust [of his] we’re aware of that has a tiara like that.

 

What did Baron Cawdor, the sculpture’s first owner, do for Canova that earned him the Bust of Peace? He was Canova’s first British patron and a substantial landowner over here. What comes across in his letters is he’s a nice man. He and Canova got on together, and they were personal friends. Baron Cawdor was an important patron who commissioned iconic works, including the Cupid and Psyche in the Louvre. It was sort of appropriated by Murat [Joachim Murat, a French military leader and brother-in-law of Napoleon]. At the time, Britain was at war with France, and Murat could say, ‘I’ll have that.’ We know by 1814, the first fall of Napoleon, many treasures of Rome were taken by French forces and were in the Louvre. Canova was very much a patriotic Italian, and he wanted to get them back. Baron Cawdor was among the British dignitaries who supported the effort to get them back. The bust may have been given to him for that reason. But through thick and thin, Baron Cawdor was a patron who stuck by Canova.

 

Where does the Bust of Peace rank among the Ideal Heads? How well-regarded is it? There aren’t many Ideal Heads. It is a rediscovery. This is literally the first time since 1817 that it’s been published as a Canova. It’s very much fresh off the block. In terms of beauty, in my opinion, it’s one of the more beautiful. It has this glorious tiara which none of the others have. Not only is it an early Ideal Head, it has a backstory that symbolizes the end of the Napoleonic era and symbolizes peace. It combines remarkable history and a remarkably beautiful work by the greatest Neoclassical sculptor.

 

The lot notes say that Canova’s Ideal Heads “caused a stir when they arrived in Britain.” Can you explain in more detail how they were received? I don’t think you can get better than the fact that Lord Byron wrote a poem about one of the heads. Lord Byron, the great poet of the age, wrote a poem about the great sculptor of the age. At the time, the Ideal Heads were totally different from anything that came before. They would have stood like icebergs among the galleries of paintings. This gleaming white marble of an objectively regal-looking woman must have been wholly refreshing in that environment.

 

Canova also did a Statue of Peace, which he started before making this bust and delivered after finishing the bust. How do the statue and the bust relate to each other beyond their shared theme? The statue is in Kiev and is difficult to access for that reason, but the images we have of the statue compare very well. It appears to be nearly identical. There is a small natural flaw in the bust, on the upper lip. Canova wrote to Baron Cawdor apologizing for it. It’s hugely important to us because [the flaw] is a characteristic we know it had when it left Canova’s studio. It’s very slight, but it’s there. We haven’t color-corrected it out [of the catalog images]. We’re very proud of it. It is historical, isn’t it?

 

Other Ideal Heads that Canova made for British patrons and friends have dedicatory inscriptions, but this one does not. Why? Baron Cawdor went to Rome and received it into ownership at that time. The lack of a price in the archives and the fact that the others were all gifts strongly suggest that the Bust of Peace was a gift. The other four Ideal Heads arrived later, in 1817. He sent them from Rome to patrons in the U.K. [without handing them over in person]. In my opinion, Canova saw the need to inscribe them, and it was probably more natural to him to carve in stone than write in ink.

 

Do we know who Canova’s model would have been for this bust and the statue? We don’t know whether he used a live model. The conventional thinking on this is the heads are formed solely in his imagination. That might explain why they [the bust and the statue] share the same facial characteristics.

 

What features does this Bust of Peace have that 19th century viewers would have recognized on sight, but which might be obscure to 21st century viewers? First, she’s crowned, and the only other Canovas that are crowned are the Statue of Peace and a portrait he did of Napoleon’s wife, Marie Louise. Clearly for the artist, the coronet represented harmony and peace. It was seen as the distinguishing characteristic of peace at the time. And it’s different from the others in that she assumes a serene and godlike expression, which shows the power of peace.

 

What condition is the bust in? It’s in very good condition. There is some minor wear, but the bust broadly retains its original surface and is particularly beautiful on the cheeks and neck–particularly smooth and perfect.

 

You said earlier that the bust is something of a rediscovery? It was considered to have been lost. When the Canova catalog raisonné was published in the 1970s, it was considered unknown. It was on view in 1817 at the Royal Academy in London. After that, it went into the Cawdor private collection until 1962, when they sold the contents of a house. It [the Bust of Peace] sold as an anonymous bust. It was at auction in 2012, again as an anonymous bust. Then it was acquired by the present owner, who, gradually, through a lot of work, figured out it was one of the Ideal Heads.

 

That is a heck of a discovery. I think the owner began to have an inkling of what it was and wrote to the great Canova expert, Hugh Honour, who is now deceased. He wrote back, ‘Congratulations on rediscovering one of the Ideal Heads, the Bust of Peace.’ The attribution was confirmed by the director of the Canova Museum in Possagno, Italy.

 

What is the Bust of Peace like in person? Personally, I find it very affecting. The bust is perfect in its conception. Peace is objectively serene, with a wonderful Neoclassical crown. The bust is designed so it can be viewed from any angle–as you move around it, the figure is changing. The tresses falling from the back of the head are arranged in a way that is not symmetrical. Canova’s great skill is producing harmonious compositions that are seemingly symmetrical, but not. It explains how he was able to breathe life into the composition. As you walk around it, it really does seem like Peace could spring into life. It’s one of the most beautiful marbles we’ve ever sold.

 

How to bid: The Bust of Peace is lot 25 in the Treasures auction at Sotheby’s London on July 4, 2018.

 

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

 

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RECORD! Phillips New York Sold Paul Newman’s Own Paul Newman Rolex Daytona for $17.7 Million–a Record for Any Wristwatch

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What you see: A 1968 Rolex Daytona “Paul Newman,” reference 6239 and owned by the late actor Paul Newman. Purchased for him by his wife, Joanne Woodward, she engraved the back of the case with the words, “DRIVE CAREFULLY ME.” Estimated in excess of $1 million, Phillips sold it in New York in October 2017 for $17.7 million, a world auction record for any wristwatch.

 

The expert: Paul Boutros, head of watches for the Americas for Phillips.

 

How rare are these mid-century Rolex Daytonas with the “exotic” dial that was later nicknamed for Paul Newman? Not especially rare, in the grand scheme of things. The thing with this type of Daytona is they’re really sought-after. There’s far greater demand than supply. The regular Daytona appeared in 1963. The version with the exotic dial, aka the Paul Newman dial, appeared on the market in 1966.

 

For a long time this watch was considered “lost.” How did you find it? Did the consigner come to you, or did you sleuth it out? It came to us. The consigner, James Cox, had had it in his possession since 1984. [Newman spontaneously gave it to Cox, who was dating Newman’s daughter, Nell, at the time, after he idly mentioned that he did not own a watch.] In 2016, he decided it was time to sell it for a good cause, Nell Newman’s charity. He reached out to his attorney and asked how to sell it. The attorney said he didn’t know, but he had a client with a world-class watch collection, and would ask him. The attorney called the collector and asked, “What would you think if I had Paul Newman’s Paul Newman?” The man said “$100,000 to $150,000.” The attorney said, “No no no, the Paul Newman watch worn by Paul Newman.” The collector replied, “Whoa. You have to go to Phillips.”

 

Did John Cox know what he had? And did he know that the watch was thought to be missing? He didn’t know its importance initially. He wore it casually. Once he was in Japan, and someone came up to him and said, “Paul Newman! Paul Newman!” and he thought, “Wow, how did they know I have Paul Newman’s Daytona?” He didn’t know the watch was called a Paul Newman until he did some research. Then he understood it was an important watch. He placed it in a safe deposit box in the early 1990s. Maybe he didn’t know collectors were hunting for it.

 

The Paul Newman Daytona was the top lot in Phillips’s first New York auction of watches. Did you hold and schedule the Paul Newman expressly for this sale, or did it happen to come to you at the right time? We always knew we would launch watch sales in New York, but the time had to be right. We felt that a great way to launch New York, and the best thing for the Paul Newman, was to sell it in New York. It was a great alignment of the stars.

 

You estimated it in excess of $1 million. The previous record for any wristwatch was $11 million, set at Phillips Geneva in November 2016 by a 1943 Patek Philippe, ref. 1518. When you set the estimate for the Paul Newman, did you have any notion that it could break the record? No. We did not. We were as surprised as anyone. We took in the watch in 2016. Before that, the most expensive Rolex at auction sold for $2.4 million. While the Paul Newman was in our possession, a Rolex sold for $3.4 million and another sold for $5 million. We thought it had a chance of beating the $5 million record for a Rolex. We didn’t know it would beat the record for any wristwatch.

 

Phillips sold those two record Rolexes in the same May 2017 Geneva auction. But you didn’t change the $1 million-plus estimate on the Paul Newman. Why not? We were still unsure. And once we agree upon an estimate and a contract is in place, we don’t like to change it unless we have to. We kept the estimate conservative.

 

Have other Paul Newman-owned watches gone to auction? How did they do? There was a modern 1990s Daytona associated with him that sold at a charity auction in 1995. It was one of many watches in the auction. It probably sold for $30,000. That’s it. He donated it for charity.

 

How do auction records of charity sales affect how you prepare an estimate for a similar item? There’s a little art and science behind an estimate. We ask, “How much would we pay for this watch if it was presented to us?” Another thing we consider is the price of a standard Paul Newman. In 2016, it was $150,000. With a Paul Newman provenance, it’s maybe eight to ten times that.

 

What factors drove the watch to such a staggeringly high record price? It’s an iconic watch from an iconic brand. By itself, without the Paul Newman provenance, it was $180,000 to $200,000, maximum. Factor in the Paul Newman provenance, and it’s $17.7 million. That portion above the $200,000 is directly associated with the provenance.

 

To what extent, if at all, did the charity angle–the fact that the Nell Newman Foundation and the Newman’s Own Foundation would benefit from the sale–help push the watch to its record price? It’s impossible to quantify. But if there was no charity aspect, I don’t think it would have sold as high.

 

What condition was the watch in? It was all-original. It was worn and enjoyed but it never experienced a polishing. It had its original factory finish, and the engraving was perfectly preserved. Its originality really helped it fly.

 

Does it work? Oh yes. We only sell watches that work. If it hadn’t worked, we would have sent it to a watchmaker to make it work. It’s a minor cost.

 

Did you try on the watch? Of course, yeah. It was very emotional. Your first time seeing it, looking at it, handling it–it’s the moment many wait for for their collecting careers. It was a breathtaking moment for me.

 

How long did you wear it? Not too long. I took a couple of wrist shots for my Instagram account.

 

When you announced Phillips would sell the Paul Newman Daytona, did you have bidders signing up who you’d never worked with before? Yes, many people were new to us. For a typical top lot, we have maybe five qualified people interested in bidding. The Paul Newman was above average. We had 34 registered to bid on Paul Newman’s Paul Newman, and all of them were qualified. All 34 had to show their bank statements.

 

You sold the watch in a traditional way–no online bids allowed. Why? We always accept online bids, except for this one. We wanted no potential sabotage of the lot. We accepted phone, absentee, and in-room bids. Online bids were turned off.

 

What was your role during the sale? I was on the phone with a potential bidder. Aurel [Aurel Bacs, the auctioneer, from the consulting firm Bachs & Russo] started the lot with a commission bid of $1 million, and then Tiffany [Tiffany To, a Phillips watches specialist from the Hong Kong office who was representing another phone bidder] interrupted to say “10 million!”

 

Have you ever seen anything like that happen before at an auction–the auctioneer barely finishes relaying the initial seven-digit bid, and it’s almost instantly trounced by an exponentially larger one? No. It was an incredible jump bid. It decapitated many bidders. My phone bidder, they said they were out. The person who bid $10 million was the underbidder in the end. [Phillips taped the whole thing, and you can see it on YouTube, from the opening promotional film to the final fall of the hammer.]

 

Was the record acknowledged at the time? I think Aurel knew at $10 million [that it was going to stomp the $11 million record]. He was shocked like the rest of the room, taken aback. [Bachs announces the opening $1 million bid around the 2:06 mark, and Tiffany jumps in soon after. When he realizes that she’s confirming a $10 million bid, he is indeed speechless for a few seconds.] He regained his composure. He knew, but I don’t recall him saying it was a new record [at that moment]. [Around the 10:00 mark, Aurel remarks, “I don’t need to say what this watch does in terms of records. It does everything.”]

 

How did you feel after the final gavel strike? It was… Wow. We were really shocked. Very happy, of course. Elated for Elinor Newman, for James Cox, and for collectors of watches. It was a great moment for the hobby, for someone to pay so much for an important timepiece. For me, it was the ultimate wristwatch. One thing to note is the fact that it took place in New York. Not Geneva, New York. It was great for the market.

 

How long do you think this record will stand? What else could challenge it? The watch was a once-in-a-lifetime opportunity. It’s going to be tough to break, this record. I don’t think it will stand forever. I always hope something new will be unearthed that will give it a run for its money.

 

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Phillips is on Twitter and Instagram. Paul Boutros is on Twitter and  Instagram also.

 

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

 

Read Phillips’s own story about the Paul Newman watch, which includes period photos of Newman wearing it.

 

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RECORD! Potter & Potter Sold Cardini’s Stage-worn Tux for $72,000, a Record for Any Magician’s Costume

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What you see: A tuxedo outfit worn on stage by Cardini, including spats, bow tie, vest, white dress shirt, pocket handkerchief, fake flower, and top hat. It sold at Potter & Potter in April 2013 for $72,000 [with premium], a world auction record for a magician’s costume at auction.

 

Who was Cardini? Born Richard Valentine Pitchford in 1895 in Swansea, England, he was a magician who patterned his stage name after Harry Houdini. He practiced card tricks in the trenches while serving in World War I, and the harsh conditions forced him to master the sleights with his gloves on. After the war he traveled the world performing his magic act and ultimately rose to the top of his profession. His wife, Swan Walker, joined him onstage as his assistant. Pitchford died in 1973 at the age of 77.

 

The expert: Gabe Fajuri, president of Potter & Potter.

 

How often do you receive stage-worn costumes from any prominent magician, period? We have not had many. Cardini wore many tuxedos over his life. We’ve never had anything Houdini wore before, except for a straitjacket. We sold a Harry Blackstone Sr. tuxedo last year for a lot of money [$45,600 with buyer’s premium]. They’re not like magic books or tricks, which we get on a daily basis.

 

How many tuxedos would Cardini have traveled with? He had to have had more than one, yes? He had at least two. He’d need to have fresh clothes because he’d do multiple shows a day. He came up in vaudeville, doing five to seven shows a day at its peak. Then he transitioned to nightclubs and hotels. He was working.

 

Do you know when he would have worn and used this tuxedo? What span of time? We don’t know, but I’d guess later. It came directly from his daughter, and she got it from her mother [Swan Walker, Cardini’s wife and stage assistant].

 

The lot notes say the tuxedo is “custom-tailored”. Did Cardini have anything done to the suit to help him with his act? There might have been one or two things. Most of the things he added to the tux are literally added to the tux, not sewn in. There’s folklore that Cardini’s extra-long tails inspired Fred Astaire to add long tails [to his tuxedo coat] for his dance moves, but there’s no proof. But they [Cardini and Astaire] certainly came up through the ranks at the same time.

 

The lot notes say this outfit is “perhaps the most iconic costume of the most imitated magic act of the twentieth century”. Could you elaborate? Cardini and his wife did a 12-minute act for four decades. He became the archetype of nightclub and vaudeville magic. He didn’t invent the card trick, but he was what everyone aspired to because his technique was perfect and he did it wearing gloves. He had a character, a slightly tipsy gentleman, who people could recognize. He had a monocle, a top hat, a cigarette holder–he had a brand, essentially. You look at Cardini and think, ‘Isn’t that how magicians dress?’ Yes, and it’s because of this guy.

 

He didn’t wear the outfit to look like a magician–he wore it to look like a gentleman arriving at his club. Or leaving his club. Watch the video. His character is not exactly surefooted. He’s using the monocle as a way to register surprise. He had a little story to tell within the span of the act. It was all part of the story.

 

Just how badass is it that Cardini did his card tricks while wearing gloves? It’s really hard. I’ve tried it. It’s hard enough to do what he’s doing without wearing gloves. That’s the thing–his technique is flawless.

 

Have any other magicians tried to perform card tricks with gloves on? People have done it since. How well is a matter of debate.

 

The Cardini tuxedo did exceptionally well, selling for $72,000 against an estimate of $2,500 to $3,500, but almost everything in the 2013 Cardini auction did exceptionally well. You sold the last pair of gloves he wore on stage for $26,400 against an estimate of $800 to $900. You sold his monocle for $12,000 against an estimate of $1,200 to $1,500. You sold his bow tie for $10,800 after estimating it at $300 to $500.

 

Why was the Cardini auction such a big hit? It was a big breakout sale for us. We had Cardini’s whole life. Trunks, costumes, books from his library, we had everything, and he was one of the most important magicians of the 20th century. We had people calling who we hadn’t heard from before. To present somebody’s life so completely is unusual.

 

Was Cardini a magician’s magician? He was, but at the same time, he had incredible real-world success. He was the top of the heap. He combined great artistic presentation with impeccable technical skill and melded it into an incredible act.

 

What was the experience of selling the Cardini tuxedo like? Anticipation was high in advance of the sale. There were ten or fifteen lots in there that we knew would be off the charts. His daughter [who consigned the material] said she didn’t want to watch the stuff sell. She stayed at the back for the first three, four, five lots. They started to go, and she never left. I’ll never forget going out with her family after the auction. She told me that despite all the work [her parents did] they didn’t have money. They spent every dollar they had. They never really saved anything, so she never got an inheritance. After the auction, she said her parents did finally give her a gift.

 

Did the sale of the Cardini tuxedo stand out? I think at that point it was the most expensive thing we’d ever sold. I think the monocle came up before that. I don’t think anybody thought it would get there. I remember the day before the auction thinking we wouldn’t sell the tux. (Laughs.) There was not a lot of advance interest in that item. I don’t think we had any absentee bids on it until the day before the auction.

 

Why does the tuxedo stick in your memory? It was well-used. I remember the lapels showing they’d been worn down a bit. It’s not like he was going out to dinner parties–he was out working. He wore a tux to work. What I would say in reflecting on it is it sold for more than many Hollywood costumes from the same era. It sold for more than a pair of Laurel and Hardy costumes auctioned at Profiles in History. People probably know Laurel and Hardy more than Cardini. That struck me.

 

What’s out there that could challenge the record set by the Cardini stage-worn tuxedo? There are at least two Cardini tuxes out there, but I don’t think it [one of those tuxes] can do it again, no. A Houdini tuxedo, if it ever shows up. We had a Houdini thing come close. A brooch worn by Bess Houdini sold for $72,000 last year. Outside of Houdini, I doubt it. We sold Harry Blackstone Senior’s tux for a lot of money, more than I expected. It was a huge price, and Harry Blackstone was a great magician. And still, Cardini beat him.

 

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Follow Potter & Potter on Instagram and Twitter.

 

If you didn’t click on the link to the 1957 Cardini performance–the only one known–do yourself a favor and watch it now.

 

Gabe Fajuri is a favorite on The Hot Bid. He’s talked about a genuine 19th century gambler’s case that later sold for $6,765; a scarce 19th century poster of a tattooed man that fetched $8,610; a 1908 poster for the magician Chung Ling Soo that sold for $9,225; a Golden Girls letterman jacket that belonged to actress Rue McClanahan; and a 1912 Houdini poster that set the world record for any magic poster at auction.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Potter & Potter.

 

Would you like to hire Sheila Gibson Stoodley for writing or editing work? Click the word “Menu” at the upper right for contact details.