Update: William Edmondson’s circa 1930s sculpture, The Crucifixion, sold for $175,000.
What you see: The Crucifixion, a 1930s sculpture by the outsider artist William Edmondson, who was the first African-American to have a solo show at the Museum of Modern Art in Manhattan. Rago Auctions estimates it at $30,000 to $50,000.
The expert: Sebastian Clarke, director of estate services for Rago.
Did William Edmondson use a railroad spike as a chisel for most of his artistic career? He did, though to the best of my knowledge, he used smaller, finer chiseling tools as well. He was very much self-taught. I can send you a discovery–the original press release from the 1937 MoMA show, which includes an interview with him. The list of pieces to be shown includes a version of The Crucifixion. He did three or four different versions of The Crucifixion, and we don’t know if this is the one that was in the show, or another example. Of the three or four, one is in the Smithsonian, at least one other is in a private collection, but was exhibited in 2005, one is unknown [its whereabouts are unknown], and one is ours.
How does this version of The Crucifixion compare to the others? The others have more fully formed figures, with pierced areas between the arms and the cross [the arms are separate]. This is more of a relief, with a flat face. What I love about it is it really conveys Edmondson’s work. It’s impossible to identify it as male or female. Of the others, two ore three are male figures wearing loincloths or underpants. This one is completely plain.
Edmondson preferred limestone. How difficult is it to carve limestone? It’s very, very difficult to carve. What’s fabulous about this is its condition is so good. You can really see the strike marks where he worked the stone. This is almost smooth to the touch in so many areas.
The sculpture measures 15 and a quarter inches high by 10 and a half inches wide by five inches deep. Is that relatively small for an Edmondson? It’s a hair on the smaller side. His animals seem to be a little smaller. His figures got to be 23, 24 inches. Of his Crucifixions, one is 20 inches and another is 26 inches. So it’s definitely smaller for a Crucifixion, but squarely on the average side for pieces he worked.
Earlier you told me, “This work is as close to Edmondson’s original intent as they get.” Could you elaborate? Edmondson’s pieces are extremely symbolic. The scenes are often drawn from his religious beliefs. This Crucifixion is part of that body of work. The surface is just so fantastic. It’s clearly a crucifixion, but it’s up to the viewer to interpret the rest of the thing.
This is Edmondson’s only crucifixion sculpture to come to auction. How did you put an estimate on it? We’re aware the world auction record for an Edmondson is nearly $1 million, for a wholly different work. The nature of this is cruder and more simplistic. And a crucifixion, in my experience in the art world, sometimes places limitations on value. We want to take that into account.
But it’s not a gory, gruesome crucifixion scene. It’s pretty stylized. And people who collect folk art and outsider art, they know they’re going to encounter pieces with intensely religious themes. True. But the value will be determined by the marketplace. We’ll have to wait and see what happens. I’ve been in the business for 20 years. I’ve never handled an Edmondson before. Whenever they come up for sale, they always far exceed the estimate. We’ll try to replicate that success.
Edmondsons rarely go to auction. Is that because most of them are in institutions, or is it because collectors are reluctant to give them up, or both? Several examples are in institutions, and the ones in collectors’ hands are often promised to institutions. Folk art and outsider art collectors take a lot of pride in their collections. Edmondsons come up so rarely, everybody pays attention.
What’s the world auction record for an Edmondson? The Boxer, a circa 1936 piece that sold at Christie’s in January 2016. It had an estimate of $150,000 to $250,000 and it hammered at $785,000. I’d love to see it [The Crucifixion] beat its estimate but I’d be surprised to see it go beyond-beyond. Artnet only has 24 records. It’s a very shallow pool, and none are a crucifixion. They don’t come from a similar period or style, where the features are not very well-defined. What will that do to it? Will it make it more desirable, or less? We’ll have to wait and see.
What is the sculpture like in person? It’s fabulous. It’s so bright and crisp. There’s something magnetic–you’re drawn to it, and the color and the surface are lovely. It looks like it’s never seen the light of day. The chisel marks are so well-defined on the back. There’s something really exceptional about it.
What does it feel like to hold it in your hands? It’s heavy, probably around 40 pounds. It is surprisingly smooth. You can really feel the weight of the piece, the way the figure is defined on the cross. You want to turn it over and look at the back, which is not easy to do, because it weighs so much.
Is that something that collectors look for in an Edmondson–chisel marks? Or are they so rare that they can’t afford to quibble if they’re missing? The whole idea behind outsider and folk art is really feeling a connection with the individual who made it, to feel them reflected in the piece. In the chisel marks, you can really see him working on it.
Why will this piece stick in your memory? Probably because I’ll never handle one again. [Laughs.] Edmondsons are something you only hear about, but don’t get to see. For me, personally, my training is in European furniture and decorative art. This is something I’ve grown to appreciate and love. I’ve always been a high-style person. I’ve come to appreciate pieces that are naive in so many ways, but are spectacular. It’s so magnificent.
How to bid: The Crucifixion will be offered in Autobiography of a Hoarder: The Collection of Martin Cohen, Part I, which takes place October 21, 2018 at Rago.
Text is copyright Sheila Gibson Stoodley. Image is courtesy of Rago Auctions.
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