Month: December 2018

RECORD! Marilyn Monroe’s Happy Birthday Mr. President Dress Sells for $4.8 Million at Julien’s

 
Marilyn Monroe's Happy Birthday Mr. President dress is flesh-colored and covered with 2,500 crystals that were hand-sewn on.

What you see: The gown that Marilyn Monroe wore to serenade President John F. Kennedy in May 1962 at a Democratic fundraiser that also marked his 45th birthday. Julien’s sold Marilyn Monroe’s “Happy Birthday Mr. President” Dress in November 2016 for $4.8 million, a record for any dress sold at auction.

The expert: Martin Nolan, executive director of Julien’s Auctions.

Looking at black-and-white tape of Monroe’s performance on YouTube, it seems that a dimension has been lost. Can you talk about why Marilyn Monroe’s Happy Birthday Mr. President dress made the crowd gasp, and why JFK joked that he could “retire from politics after having had ‘Happy Birthday’ sung to him in such a sweet and wholesome way”? First of all, she had agreed that she’d wear a conservative black dress. But she knew the power of voting, and knew the power of singing at Madison Square Garden, and it was just before her 36th birthday. She was so in tune with the importance of that event. She took her white stole off and stepped to the left of the podium because she didn’t want it to block her in anyway. There was an amazing reaction when the lights bounced off the crystals–15,000 gasps. It looked like she was wearing nothing. You and I are talking about it today, and 50 years from now, we’ll talk about that moment.

So the skin-tight, flesh-colored dress was her idea? She asked [costumier] Jean Louis to make her something that would wow the crowd. Bob Mackie, who was just out of college and 22 years old, drew the sketches for the dress. We sold them a few years ago. 2,500 crystals were hand-stitched onto the dress. Monroe paid for it herself and had matching shoes. We sold the receipt for the dress as well. She spent $6,000 on it [the outfit and related items] which is over $60,000 today–a huge amount of money, a huge investment. She didn’t think about the cost factor. She was thinking about the ‘Wow’ factor. She was very aware of the importance of the event.

Could you talk about what Monroe went through when she wore this dress? I understand that she was sewn into it. Also, in looking at the period tape, her movements are clearly restricted. At one point we see her jumping very vertically to rally the crowd to sing. Was the dress as uncomfortable as it looked? The dress was fragile and difficult to walk in. The stitching was done just below the zip line at the back of the dress. It took a few minutes for her to get from the dressing room to the stage. It was distant, and she could not run, because she was wearing heels. She shimmied her way on stage, wrapped in the cloak, and master of ceremonies Peter Lawford announced her as “the late Marilyn Monroe.” Three months later, she was the late Marilyn Monroe. [She died on August 5, 1962.] Fox promised to fire her if she was late [she was filming Something’s Got to Give at the time, and the studio did not want her to travel across the country and potentially delay the shoot.] She risked it all to go to New York. When she got back, she was fired from the set.

Do we know where that white fur stole went? It got separated from the dress. Monroe passed away in August 1962. She had no family members. Attorneys for her estate put everything from her house into storage. The boxes got shipped back to Lee Strasberg [her  mentor and acting teacher], where they stayed until 1999. The dress was first uncovered for the Christie’s estate sale [in October 1999]. We have not found the fur stole, but believe me, I’m searching for it and the shoes.

How much more would the dress be worth if it were part of a complete stage-worn Marilyn Monroe outfit? It’d be hundreds of thousands extra if we found the shoes and the stole. It would be phenomenal to have them all together.

What condition is Marilyn Monroe’s Happy Birthday Mr. President dress in? It’s in perfect condition, absolutely perfect condition. The consigner [who won the Christie’s auction in 1999] enlisted experts to build a ‘conservative’ mannequin to preserve the shape of the dress. The knee is positioned out so it supports the weight of the dress. The special mannequin was in a special display case with UV-protective glass. Very clever. He [the winner] believed he’d sell it for a profit. The underbidder [in 1999] was Ripley’s Believe It or Not! When the dress came back to auction, Ripley’s was bound and determined not to let it get away.

Do we know how much the dress weighs? It would weigh several pounds. Place 2,500 crystals in a bag or a bowl–that’s a lot of weight right there.

How did you arrive at the estimate of $2 million to $3 million for Marilyn Monroe’s Happy Birthday Mr. President dress? We truly believed that if it fetched $1.27 million in 1999, there had to be a level of appreciation in the dress. It had to double its money. Its historic and political value, matched up with Hollywood history, affected the value of the dress. We felt it would sell for at least $2 million.

What was your role in the auction? I was on the phone with a museum. Everyone [who bid] had to be pre-qualified. It came down to two bidders in the room. The energy in the room was just phenomenal. Marilyn Monroe is beloved worldwide. She’s still relevant and still gets high prices.

Marilyn Monroe dominates the auction records for clothing, but it’s interesting that this dress, which she wore in real life, is now number one, ahead of a white dress she might have worn while standing over the subway grate in The Seven Year Itch. It’s definitely significant. She was not in character in a movie. This was purely Marilyn Monroe singing to JFK, a love affair made public. There was a lot of speculation and a lot of rumors about a romantic relationship between Monroe and JFK, and after this event, people realized there was something to the rumors [laughs]. She disregarded the 15,000 people in the room. It was just her and President Kennedy in those 90 seconds.

How long will this auction record stand? What else is out there that could beat Marilyn Monroe’s Happy Birthday Mr. President dress? I can’t think of anything else that would be so iconic.

Why will this dress stick in your memory? In 2005, I had a wish list. I said what I’d love to auction is Michael Jackson’s red jacket from Thriller, and that came true in 2011.  The next was Monroe’s Happy Birthday Mr. President dress. Now I’m looking for a pair of ruby slippers [worn in 1939’s The Wizard of Oz]. That could potentially be $5 million, but there’s only one Happy Birthday dress. It’s presidential history and Hollywood mixed together.

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Image is courtesy of Julien’s Auctions.

Martin Nolan previously spoke to The Hot Bid about a Joseff of Hollywood simulated diamond necklace worn by Hedy Lamarr, Ava Gardner, and several other Hollywood actresses; a once-lost 1962 Gibson acoustic guitar belonging to John Lennon that sold for $2.4 million–a record for any guitar at auction; and a purple tunic worn by Prince.

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RECORD! A Clapperboard from Steven Spielberg’s “Jaws” Sold for Almost $110,000 (Updated December 2018)

   
A wooden clapperboard that Steven Spielberg used on the set of the 1975 blockbuster horror movie, Jaws. Its clapper is shaped and painted to resemble a row of shark's teeth.

Update: The Jaws clapperboard sold again as lot 1423 in a Profiles in History auction in December 2018. PIH estimated it at $60,000 to $80,000, and reported on its Twitter account that it sold for $128,000.

What you see: A wooden clapperboard that Steven Spielberg used on the set of the 1975 blockbuster horror movie, Jaws. Prop Store sold it in September 2016 for £84,000, or $109,000–a record for any filmset-used clapperboard at auction.

The expert: Stephen Lane, CEO and founder of Prop Store.

When did major film productions stop using wooden clapperboards and start using digital ones? That’s tough to answer. Probably in the early 1990s it started to happen. There are still productions today that use analog acrylic clapperboards. There’s still a crossover going on.

How often do set-used clapperboards from legendary films come to auction? I don’t know of any clapperboards sold at this level previously.

What was the previous auction record for a set-used clapperboard? Probably a second unit Star Wars: The Empire Strikes Back clapperboard, which sold for £27,500 a few years ago. Clapperboards are something that collectors locked onto within the last five years. The collectors we speak with aspire to collect objects that were used before the camera.

It strikes me that even before the collecting mentality became ingrained, set-used clapperboards were likely to have been saved because they say, ‘Hey! We made a film!’ Is that a fair assumption? It’s a double-edged sword. A lot of clapperboards come directly from crew members who worked on the films. A lot bring them home from every film they’ve ever worked on, and hang them on the wall and will never part with them. With some clapperboards, the information was taken off to rewrite it for the next film. I’ve seen clapperboards from Star Wars and Indiana Jones, but I’ve never seen one for Wizard of Oz or Gone With the Wind. They probably finished the film, got the paint off it, and got the clapperboard ready for the next film. There was a huge amount of recycling.

Have you handled any other set-used clapperboards from Steven Spielberg films? We had a Raiders of the Lost Ark clapperboard in 2014, a small insert clapperboard. They make them in a variety of different sizes. For a shot on the top of a mountain in Lord of the Rings, they [the LOTR crew] made one that was 8 feet wide. I’ve seen other Indiana Jones ones but clapperboards are tough to pin down. There’s not a huge volume of those around and they don’t pop up very often.

What details on this clapperboard, aside from the obvious, prove that it is a genuine set-used clapperboard from the filming of Jaws? It’s incredibly distinctive. It’s very specific, with the cut teeth, which was hugely endearing to a number of collectors. And there’s a photo of Steven Spielberg holding the clapperboard on the set. It was not only used in Jaws and made for Jaws, Steven Spielberg held it on the set. That’s part of the huge appeal of this particular piece.

How big a deal is it to have this period photo of Spielberg holding the clapperboard? Would the clapperboard be worth less if the photo did not exist? Yes, I would say so. Because they were wiped and redetailed with chalk, it’s very unusual for final shot info to be retained on an individual clapperboard. A lot of these slates originated as rental items that productions used to hire. To get one with all the info on it and match it against a photo, it’s very tough.

Is it unique? No, I’ve had a couple of screen-matched boards in the past. But it’s rare, especially for a significant film.

Do we know how many clapperboards were made for Jaws and used on the set? There’s no record whatsoever. I can say quite comfortably that’s the only Jaws clapperboard that’s ever come to market.

As you mentioned before, the clapperboard is decorated with a line of shark teeth. If it lacked that cool little flourish, would it still have made a record price? Again it’s tough for me to speculate. I hadn’t seen a Jaws clapperboard before. I think it [the lack of the teeth detail] would have definitely impacted it, but I can’t say it’d be 20 percent less valuable. It is one of the most endearing features of the board.

How often do you see decorative flourishes like that on a clapperboard? Almost never. The most elaborate thing you get these days is the film logo laser etched on an acrylic clapperboard. You don’t see ones that are nearly as entertaining as this.

What was your role in the auction? I was in the room. I went and sat with the consigner. He wanted to be part of the experience of it selling. Because of the level of interest prior to the auction, we knew it was going to be an exciting moment. It got a massive amount of publicity. People loved it and the press ran with it. It was such an exciting moment for him and for me. He was over the moon, and I was over the moon with him.

Can you talk about how the consigner reacted? He got more and more excited. He looked at the screen, he looked at me, then back at the screen, and his jaw dropped a bit more. After it finished he had to leave the room, he was so excited. He had to have a drink to calm his nerves.

When did you know you had a new world auction record? By the time it got to £30,000. At that point, we were there.

How long do you think this record will stand? I haven’t seen anything that comes remotely close to this. Maybe if a Star Wars: A New Hope clapperboard came up, but it’s unlikely any survive. If a Wizard of Oz or a Gone With the Wind clapperboard came up, they’d be worth tens of thousands. This really was the perfect storm. An interesting-looking clapperboard, the most interesting film in Spielberg’s back catalog, brilliantly documented, and a huge amount of production use. It ticked all the boxes you want to tick.

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Prop Store’s September 20, 2018 auction will include Harrison Ford’s screen-worn Han Solo jacket from Star Wars: The Empire Strikes Back, Rose’s farewell note from Titanic, and also a Jaws lot with 40 storyboard pages and a crew t-shirt.

Image is courtesy of Prop Store.

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RECORD! Michael Jordan’s Game-worn 1984 Olympic Gold Medal Sneakers Sold for More Than $190,000 (Updated November 2020)

A pair of size 13 Converse sneakers that Michael Jordan wore during the 1984 Olympics, when the U.S.A. basketball team won the gold medal. He signed each sneaker.

Update to the update: Three months after the Sotheby’s sale, Christie’s sold a different pair of Michael Jordan game-worn Air Jordan 1 sneakers. Dubbed the “Shattered Backboard” sneakers, the sole of the left shoe contains a glass shard from a forceful Jordan dunk that did just that–shattered the backboard. Worn by Jordan in 1985 during an exhibition game in Trieste, Italy, the sneakers sold for $615,000 and yet another record.

Update: A pair of game-worn Michael Jordan sample Air Jordan 1 sneakers from 1985 sold at Sotheby’s in an online auction that ended on May 17, 2020. They commanded $560,000 against an estimate of $100,000 to $150,000, setting a new record for a pair of game-worn sneakers and a record for any pair of sneakers.

What you see: A pair of size 13 Converse sneakers that Michael Jordan wore during the 1984 Olympics, when the U.S.A. basketball team won the gold medal. SCP Auctions sold them for $190,372 in June 2017–a record for a game-worn pair of basketball sneakers.

The expert: David Kohler, president of SCP Auctions.

Where do game-worn sneakers rank among game-worn basketball items? Are they second to game-worn jerseys? As far as game-worn items go, yes, they’re second to jerseys. When game-worn shoes have great provenance and are documented, there’s great demand. We didn’t expect them to go to $190,000, but you can see how that can happen.

Does Michael Jordan dominate the game-worn basketball sneaker market? I’d say Jordan is number one for a few reasons. He was prone to giving out shoes and signing them, and Jordan had his own brand issues. The rest love Stephen Curry, Kevin Durant, and LeBron James. In the 1950s, 1960s, and 1970s, no one was saving shoes. They threw them away. By the mid-80s or so, you had players signing shoe deals and getting paid to wear shoes. There’s a whole huge industry that didn’t exist for the players from earlier years. Heck, today, some players wear their shoes for one game. A lot of them have their own orthotics that they slip into their shoes. Some wear a different color of shoes depending on their uniform.

Where was Jordan in his basketball career in 1984? He was pretty big-time. He didn’t have a shoe line yet. He was very much on the map and was wearing Converse.

Does the fact that the sneakers are Converse brand hurt their value? No. It’s not a negative at all. There was a lot of demand for these shoes, which were one of the last two pairs that he wore as an amateur. The next year, he was a pro. The provenance was exceptional. Former Laker Gail Goodrich was in charge of the basketball event, and his son was a ball boy. Jordan signed both shoes. The story is he gave the shoes to the ball boy, and the boy was literally almost out of the arena when Jordan saw him running back, and said, ‘I knew you were going to come back. I didn’t sign these.’

How unusual is it to have such a strong provenance for a pair of game-worn basketball sneakers? It’s very rare, and that’s what we love about the piece. We knew that it would bring big demand at auction. Michael Jordan, the star of the U.S. Olympic team, the shoes he wore, signed, from the ball boy–you can’t really write the story better than that.

How do these Michael Jordan 1984 Olympic sneakers compare to his game-worn sneakers from the 1992 Dream Team Olympics? We have had a pair of Dream Team sneakers. It brought around $20,000. If we knew the sneakers were from the final Dream Team game, they would have brought big money, like these. The 1984 pair were from a time when Jordan wore only two pairs [for the entire Olympic run]. Eight years later, players were wearing one pair per game. It was a different time and era.

Game-worn items can be tricky in that you want them to show some wear, but not too much. What condition are these Michael Jordan sneakers in? These had all the appropriate wear you want–the vintage look of it, but not starting to be damaged, or in the sun. The colors have started toning, which is natural for them being 34 years old. They’ve been in a closet in a box for years.

I understand there’s a letter of authenticity for each Michael Jordan sneaker. Is that typical for game-used basketball sneakers? There’s a letter from the consigner about the provenance, and then the third party grader did a letter for each shoe to address each autograph.

Has the other pair of Michael Jordan 1984 Olympic sneakers gone to auction? They came up in 2015. We did not handle them then, and they didn’t meet the reserve. Since that sale, they were consigned to us, and they brought almost $90,000. They brought less because they were not from the gold medal-winning game, but they were very similar.

What was the previous record for a pair of game-worn basketball sneakers? A pair of Michael Jordan-worn shoes from the flu game. [In 1997, Jordan played in Game 5 of the NBA finals against the Utah Jazz, scoring 38 points and helping his team win despite suffering from either the flu or food poisoning.] That pair sold for around $100,000.

How long do you think this record will stand? Interesting question. Certainly if you had the shoes that Wilt Chamberlain wore in the 100-point game, and the provenance was airtight, but I doubt those exist. They’d have to be over the top in basketball history.

Why will these Michael Jordan sneakers stick in your memory? It’s Michael Jordan, it’s the Olympics, it’s the gold medal. Jordan telling the ball boy, ‘Hey, I’ve got something for you after the the game.’ Just the story behind it.

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RECORD! A Monumental Fencai Imperial Qianlong Period Vase Sells for $24.7 Million

  
Monumental Fencai Flower and Landscape Vase sold for $24,723,000

What you see: A monumental Fencai Imperial vase dating to the Qianlong period. Skinner sold it in 2014 for $24.7 million– a record for any Chinese work of art sold in the Western world.

The expert: Judith Dowling, director of Asian works of art at Skinner.

Can you tell us what we know about how the Fencai Imperial Qianlong vase came to be? Why might it have been made? The theory, and I say theory because in China there are no actual documents, comes from observation of a vase in the Palace Museum in Beijing called the “mother of porcelain.” The Qianlong Emperor wanted a compilation of accomplishments the Chinese had made up to that point in porcelain. By repute, the superintendent [of the Imperial porcelain works] was supposed to be quite extraordinary. We believe he had to fire the vase [put it in the kiln] at least 14 times. It’s very large, with fine enamel work. It had to illustrate different techniques from different centuries–celadon, Ming blue and white–sort of like a sampler of porcelain technology. That’s why they had to fire it so many times, because the clay is fired differently [at different temperatures] for different applications. But there are no diaries that say, ‘Here’s what we did and how we did it.’

So this was an exceptionally challenging piece for the Imperial porcelain works to make? Especially with the ancient firing techniques. It could have exploded. It could have sagged. That’s why the one in the Palace Museum is the “mother of porcelain.” When ours was discovered, it was ‘Aha! There’s another one.’

And would the Emperor have kept this Fencai Imperial Qianlong vase for himself? Yes, he would have been very proud of it. He would have rejoiced in the success of it. We know at least two survive. We don’t know if they came out of the kiln on the same day. It was so famous, even at the time, that reproductions were made. When we discovered our piece, it was listed as a reproduction. Since our sale, people have offered three or four reproductions done in the early 19th or 20th centuries.

How are you sure the Fencai Imperial Qianlong vase is not a reproduction? It was deaccessed from a very small museum. I was there. They said, ‘We have a very large vase that’s had some small repairs. Want to have a look?’ They dragged it out. It was dirty. I said, ‘I’ll take it.’ I didn’t put it in the [Skinner] warehouse, I put it in my office. It sat here for a few months. One day I got a rag and bucket and cleaned it. I thought, ‘Wow, what is this?’ I didn’t know about the ‘mother of porcelain’ until I saw it in a book. Then I started to deconstruct the whole thing. I began to think the vase was from the same time period, and believe maybe it was one of a pair. It is identical [to the one in the Palace Museum]. With all the effort involved in producing this, it’s not conceivable that they’d only do one. We started to get information on the mark on the one in the Palace Museum, and it was identical. We had no one to confirm it. We had to publish it. It went viral in 48 hours. People flew in from Beijing to see it. That’s when we decided to do a preview during Asia Week in New York. It was thrilling to see excitement from people who knew what they were looking at.

How did you put an estimate on the Fencai Imperial Qianlong vase? We had no idea what to put on it. Nothing like it had sold. [Bidding opened at $150,000 to $250,000.]

Did it set an auction record for Chinese porcelain? When it sold for $24 million, that was the most paid for any work of Chinese art in the Western world. The only porcelain that sold for more was the Meiyintang Chicken Cup, which sold in Hong Kong for $36 million. It was thrilling to see the excitement of people all over the world. It was all about the ‘Wow’ factor of finding a second vase.

What was your role in the auction? Our CEO was the auctioneer. I was standing next to her. We had bidders on the phone and some in the room. We limited it to people who could give us a retainer. The only people who bid were qualified. There were 20 at the start. It went very quickly, but it started very slowly, going up by $100,000. Finally someone in the audience yelled, ‘$5 million.’ Then it just started, back and forth and back and forth. Then it slowed down to one person on the phone and one in the audience. The person in the audience won. People jumped up and clapped. It was very exciting.

What is the Fencai Imperial Qianlong vase like in person? [Laughs] We had several very important people come and look at it and say, ‘I think it’s ugly.’ It’s very ornate, and it’s big–38 inches tall. If you don’t like enameled, fancy, big vases, you won’t want to live with such a thing. The Emperor was making a statement. He wanted to have a piece that surpassed anything else in size and technique. That’s what makes it so special.

Why will this vase stick in your memory? Because there it was, hidden away for many years and sort of ignored. It was like Cinderella coming out to finally be appreciated and heralded for accomplishments done at the time. It was wonderful to be able to discover it. It kept speaking to me, in the corner of my big office. It wasn’t until I got a bucket of water that I thought, ‘Wow,’ then that was it. And I think everybody rejoiced [at its discovery]–it was special and touching for me to see. We are a mid-level auction house. Representatives from London, New York, and Hong Kong all came to see the vase. It’s an example of what a masterpiece it is. It speaks to everyone.

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You can follow Skinner on Twitter and Instagram.

This post for The Hot Bid debuted on the Skinner blog on September 10, 2018.

Image is courtesy of Skinner.

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SOLD! Wanda Gág’s Study for The Poisoned Apple Commanded (Scroll Down to See)

    
The Poisoned Apple, a study by Wanda Gág [pronounced 'Gahg'] for an illustration in a 1938 edition of Snow White and the Seven Dwarfs.

Update: Wanda Gág’s study for The Poisoned Apple sold for $5,000.

What you see: The Poisoned Apple, a study by Wanda Gág [pronounced ‘Gahg’] for an illustration in a 1938 edition of Snow White and the Seven Dwarfs. Swann Auction Galleries estimates it at $5,000 to $7,000.

The expert: Christine von der Linn, specialist in art books and original illustration at Swann Auction Galleries.

How did this Snow White book project come about? Was it a reaction to the Disney film Snow White and the Seven Dwarfs? It is, it absolutely is. 1937 was the Disney film. While it was popular and became an iconic film, the depiction of the witch frightened children. Because of that, one year later, Anne Carroll Moore, a writer, reviewer, and critic of children’s books and an advocate for children’s libraries, wanted to go back to the original Brothers Grimm and soften some of the elements that Disney portrayed.

How did the 1938 version achieve what Moore wanted? It keeps more of the folkloric charm of the original. You asked if the fact that Gág translated it herself, if it shaped the story–it did. Gág’s father was from Bohemia, and they moved to Minnesota. She grew up with those fairy tales and stories. She understood folklore and fairy tales, and she knew the language. She was able to translate it and come up with a more accurate version of the Brothers Grimm tale.

The study for The Poisoned Apple is far more elaborate than the same scene in the Disney movie. Can you talk about how Wanda Gág approached this scene, and how she chose certain details? In the original Grimm, the queen made four attempts to kill Snow White…

It sounds kind of like the Michael Palin character in A Fish Called Wanda trying to kill the old lady and accidentally killing her dogs instead. Exactly! Exactly. The queen tries her damnedest. She comes to the door as a corset peddler. The dwarfs told Snow White was told she was not supposed to answer the door to anyone. The queen puts her in a corset and ties her in so tightly that she passes out. The dwarfs find her and revive her. Next, she went as a comb vendor. The different attempts to disguise herself are discarded on the floor [the pile of masks and clothes at the left of the illustration]–the peddler didn’t work, the comb didn’t work. She gets her with the poisoned apple. Snow White was hesitant to take it. She had the good sense to be wary. The queen makes the apple half poison and half safe, and takes her bite out of the apple pulp side, the safe side. I love that Gág is showing the recipe, how she created the poisoned apple to give to her stepdaughter. It looks kind of delightful until you look at the elements and realize how dark they really are.

The late 1930s were a time when the notion of “better living through chemistry” wasn’t laughable. Nylon had been invented a few years earlier. Do you think that the positive view of chemical breakthroughs shaped how Gág approached this illustration? The Disney scene has the witch standing over the traditional cauldron, but this scene is half lab, half kitchen. It’s an interesting connection to make, but I’m not sure if I’d 100 percent go there. Domestic science came in the teens. By 1937 and 1938, it was established. You definitely have those elements to it.

How different is the study from the illustration that appears in the book? Not terribly. It takes you a while to realize the differences. The composition is almost identical. In the book version, she defines the elements more. The vapors coming off the apple look more like a corona. It’s interesting to see the subtleties of how she directs the eye.

I don’t have the Brothers Grimm version of Snow White in front of me, and I can’t recall it, but wouldn’t it have been harsher than the Disney version? It was. In the movie, the dwarfs dance around her and love Snow White. It’s symbiotic. In the book, they’re almost like little opportunists:”You can stay here and we will help keep you protected if you become our housekeeper.” They’re in the more classic tradition of dwarfs as mischievous and devious. They’re going to use her services. In the movie, when she falls under the spell, they put her in a glass coffin. In the book, the prince decides to take Snow White to a better resting place and attempts to move her to his castle, and one of his carriers trips. An act of clumsiness dislodges the apple from her throat and wakes her. She and the prince then decide to get married. In dark, grim fashion, the prince reveals to Snow White that the queen tried to murder her. They make the queen wear molten hot dance shoes and in a messed up Circus Maximus scene, they make her dance until she dies and they carry on with the rest of the wedding. Gág kept it. It’s still a violent image, but she kept it.

Is this the first piece of art from the Snow White book to come to auction? I didn’t find any others when I searched the Swann online archives. It is our first Snow White. Her other work does come up. She was a printmaker and a very skilled lithographer. The record-keeping for her work is really erratic. We seem to have the top price for a fine art work by her [an undated print, titled Outside Looking In, which sold in September 2008 for $6,480]. Skinner sold an ink on paper of a cat in a laundry basket in May 2016. That could be the top price for a Wanda Gág illustration.

Where are the rest of Wanda Gág’s illustrations for the Snow White book? The rest reside in the Kerlan collection at the University of Minnesota. Minnesota is where she grew up. A couple of studies have entered the market. The provenance for this piece is it was acquired by a German rare book and manuscripts dealer, Walter Schatzki. He had them and then he sold them in the early 1970s to another dealer, Justin G. Schiller. It went from Schiller to the current owner. That’s one of the reasons why the price is higher. It’s her best-known work outside of Millions of Cats. It’s a crucial scene from the book, and you can’t acquire [the final illustration] because it’s in the Kerlan collection.

What are the odds that The Poisoned Apple will set a new record for Wanda Gág at auction? The estimate straddles the price of Outside Looking In. It might, it might. I’d like to see it set a record. We’re still celebrating the 80th anniversary of the movie and the publication of the book. It’s one of her most important and defining creations. And this is its first time at auction. With enough luck and enough bidders, we’ll see it set a new record.

Why will this Wanda Gág piece stick in your memory? [Laughs] A couple of reasons. I like it because, in general, I love food and fairy tale images. For me, it’s a two-in-one. I’m the vice president of a local farmer’s market. I often deal with farmers and apples. I love any illustration that’s food- and fairy tale-based. I also like that it’s cartoon-like. The dark, thick lines lend that element to it.

How to bid: The study for The Poisoned Apple is lot 22 in Swann Auction Galleries‘s Illustration Art sale on December 6, 2018.

How to subscribe to The Hot Bid: Click 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.

Swann Auction Galleries is on Instagram and Twitter.

Image is courtesy of Swann Auction Galleries.

Christine von der Linn has appeared before on The Hot Bid, speaking about an Arthur Rackham illustration of Danaë and the Infant Perseus, a Rockwell Kent-illustrated edition of Moby Dick and original Erté artwork for a 1933 Harper’s Bazaar cover.

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

SOLD! A British First Edition of the First Harry Potter Book Sells for $81,250 (Updated December 2018)

A British first edition of Harry Potter and the Philosopher's Stone, published in 1997.

December 5, 2018 update: Christie’s sold a British first edition of Harry Potter and the Philosopher’s Stone for $162,500 against an estimate of $45,000 to $65,000, setting a new world auction record. And yes, this means the top price for the book has DOUBLED between September 2017 and December 2018.

November 17, 2017 update: Bonhams reclaimed the world auction record for the British first edition of Harry Potter and the Philosopher’s Stone in a November 15 sale when an author’s presentation copy, inscribed by Rowling, commanded £106,250 ($140,204) on an estimate of £30,000 to £40,000 ($39,600 to $52,800).

Update to the Update: Hooray! Heritage Auctions sold the British first edition of Harry Potter and the Philosopher’s Stone for $81,250—well above the $56,249 fetched by a different copy at Bonhams in November 2016. Congratulations to James Gannon and all at Heritage!

Update: As of 8 am EST, the British first edition of Harry Potter and the Philosopher’s Stone offered by Heritage Auctions carried a high bid of $50,000, with buyer’s premium. That’s about $7,000 shy of the current world record for the book. The auction closes today.

What you see: A British first edition of Harry Potter and the Philosopher’s Stone, published in 1997. Heritage Auctions doesn’t typically publish estimates, but its internal estimate is around $20,000, and it had an opening bid of $10,000.

Who is J.K. Rowling? Who is Harry Potter? C’mon, really? I have to explain this? Okay, in case some form of the Internet survives million and millions of years into the future, but these cultural references do not: J.K. Rowling is the author of the Harry Potter series, which is about a maltreated orphan who discovers he is a wizard and gets to go to Hogwarts, a wizarding school in some vaguely British locale served by a shiny red train. Rowling’s publisher recommended she reduce her name to gender-ambiguous first and middle initials to better attract young male readers. (Her first name is Joanne; she doesn’t actually have a middle name, but chose ‘K’, for Katherine, to honor her paternal grandmother.) Harry Potter was a hit pretty much from day one and became an unimaginably huge global phenomenon. As of 2017, 20 years after the first Harry Potter book appeared, Rowling is the ninth-best-selling fiction author ever. She is 52.

How rare are first editions of Harry Potter and the Philosopher’s Stone? Pretty rare. Bloomsbury printed 500, 300 of which went to British libraries, where they presumably lived hard lives before they were retired from circulation in favor of fresher, later-printed editions of the book.

Is the copy now at Heritage Auctions an ex-library copy? No. It’s one of the 200 that were not sent to British libraries. James Gannon, director of rare books for Heritage, says this copy has had multiple owners. It is described as being in “nearly fine” condition, which Gannon says “has to mean it wasn’t handled very much.”

Even though only 500 copies of the British first edition of Harry Potter were printed, and we don’t know how many of them survive, I seem to see the book at auction fairly often. Why is that? In response, Gannon cites a favorite quote of his: “‘Nothing makes a book common like a high price.’ It’s true. They come out of the woodwork when people see an auction result and think, ‘I’d sell for that.'”

How valuable are ex-library copies of the British first edition? “Being an ex-library copy usually hurts the value a lot, but not in this case,” he says. He notes that while some British librarians probably realized the value of the book and pulled it and replaced it with a copy from a later press run, and it’s likely that some collectors approached British libraries and offered fat donations in exchange for their first editions, he has not handled any copies that have those backgrounds.

Are American first editions of the first Harry Potter book worth anything? Yes, but not nearly as much as the British first edition. “In my mind, it’s a $2,000 book,” Gannon says, adding that the American first edition press run was 35,000–significantly bigger than the British, and reflective of the hold the story already had on the imaginations of readers by the time of the initial American printing. “If you have a set of the seven American Harry Potters, and if one is the first edition in its jacket, that’s where most of the value is.”

As of August 30, which is about two weeks before the auction ends, the book had been bid up to $19,000. Does that mean anything? “Not to me. All that matters is the last number. It’ll make more than $20,000, that’s for sure,” Gannon says. “I do have clients who call me every few months and ask me when I’m getting a copy.” The auction record for a British first edition of the first Harry Potter book belongs to a copy sold at Bonhams in November 2016. It commanded £43,750 ($56,249), was described as being in “exceptionally fine” condition, and included a few interesting typos, such as spelling out the author’s name on the copyright page.

What else stands out about this book? “It’s interesting to me, from a pure market consideration, how this is a book everyone knows is very rare,” he says. “A lot of famous modern first editions, even The Hobbit and The Lord of the Rings, they’re coveted, and they come up, but Harry Potter is rare. If I was a collector, I’m not sure I could get a copy I can afford in my lifetime. As time goes on, it’s only going to get more expensive.” He recalled an episode from his previous role at Heritage Rare Book Shop in Los Angeles (no connection with the auction house), when he paid $15,000 for a signed British first edition, priced it at $30,000, and stocked it next to a first edition of Walden that was listed at $10,000. “People got peeved at us, but it was an instance of supply and demand with the Harry Potter book. The supply is tiny, and the demand is huge.”

How to bid: The British first edition of the first Harry Potter book is lot #45111 in the Rare Books Signature Auction at Heritage Auctions in Dallas, which ends on September 14.

How to subscribe to The Hot Bid: Click 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.

Heritage Auctions is on Twitter and Instagram. Rowling is on Twitter, too, and she is fiercely awesome there on a regular basis.

Image is courtesy of Heritage Auctions.

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SOLD! The Pee-Wee’s Playhouse Picturephone Fetched (Scroll Down to See)

The Picturephone Booth from Pee-Wee's Playhouse.

Update: The Pee-Wee’s Playhouse Picturephone sold for $9,375.

What you see: The Picturephone Booth from Pee-Wee’s Playhouse. Prop Store estimates it at $10,000 to $15,000.

The expert: James Comisar, president of the Comisar collection. He’s also the consigner.

Let’s start by talking about the place in the culture that Pee-Wee’s Playhouse holds. What makes it a good television show, and why does it endure? It continues to resonate because it was loved by schoolkids, college kids, and adults. It was the perfect mix of everything, and it appealed to everybody. Just as Mr. Rogers is getting his due, I think Paul Reubens [creator of Pee-Wee’s Playhouse and the actor who played the main character, Pee-Wee Herman], in 20 years, will get his due. He created an amazing, organic, joyful world where kids could be kids. He spoke down to nobody, and it was incredibly inclusive. It’s one of the most perfect pieces of television in the last 70 years. I think the secret sauce was its authenticity, and the main character was positive. That never goes out of style.

Why did you want to acquire the Picturephone Booth? What made it important enough for you to pursue? I should back up. Pee-Wee’s Playhouse is situated in Puppetland. Pee-Wee is sequestered in his own fantasy world. His conduit to the world is this Picturephone Booth. In that way, it’s very special. And in the 80s [the show ran on CBS from 1986 through 1990] the idea of a video phone booth was interesting. Reubens gave it his own spin. He had his own sensibility for everything.

Is the Picturephone Booth well-built? It’s built to look great on camera. As a general rule, pieces look better on camera than they do in person. When a show is in production and a prop is being used, it has an economic value to the production. It’s cared for well. After the show ends production, there’s a mad dash to get it off the stage so a new show can come in and the studio can continue to earn revenue. It’s an indelicate process. When we first received these pieces, they were in studio storage and they had a bit of wear. There was damage to the paint. There were cracks.

Did you have to restore or conserve it? First, we had to stabilize it. It’s a pretty strong and durable piece, but it had been banged around a bit after production [after the show ended]. Once we dealt with the structural issues… No professional archivist wants to take a historic piece and make it look fresh and pretty again. The goal is to get rid of any damaging influences. When pieces live in studio storage, it’s not a climate-controlled facility. It’s on the outskirts of town, 65 cents a foot. It’s 35 degrees in winter and 110 degrees in summer. Bad things happen in studio storage rather quickly. They shove it into a warehouse, and shove stuff around it, and on top of it. [With the Picturephone,] there was nothing catastrophic to be sure, but it still took over a year to accomplish the intake. It required a textile conservator to come in. Then you have wood, and leather, and foam, which is worse than any material, certain to deteriorate. We went slowly and cautiously. Our job was to do the minimum, not the maximum.

I see that only one name is in the provenance, and it’s Paul Reubens. How did you acquire this from him? I believe the initial contact was around 1992, a year after the show had gone off the air. I had numerous conversations with his business manager before I met Paul. The way I found this stuff was I was [in a studio storage warehouse] working for another client, and I found a recognizable puppet for Pee-Wee’s Playhouse. I thought, “No, could it be?” Once Paul’s team was made aware of what was going on, he wanted the pieces to have a more appropriate configuration than studio dead storage.

Did Reubens take some of the Pee-Wee’s Playhouse props back? Absolutely, absolutely. But even if you have a 15,000-square-foot home, you have space limitations. The reality eventually sets in that you cannot keep everything. Paul Rubens kept a lot from the show, and it’s evident that the pieces meant a lot to him. It wasn’t just stuff. It sprung from his brain. It’s still influencing people decades later. It was painful to decide what to save and what to give to another archive.

Well, the Picturephone is furniture, isn’t it? It’s furniture, but it’s an amazing, sculptural piece of artwork. It was created with an almost avant-garde sensibility. It’s almost like folk art in the way it’s put together.

How original is the Pee-Wee’s Playhouse Picturephone? It’s two percent restored to 98 percent original. A couple of the dowels that form the eyelashes were broken or missing and had to be replaced. There was paint [the paint required touching up], and surface cleaning. The curtain, which extends across the front for privacy, is original. The textile conservator carefully cleaned it. Even the rings that attach the curtain to the front are original, scrubbed by hand.

Sounds like a lot of work went into it. If this piece sells for $10,000 to $15,000, oh, my dear god in heaven, we spent so much more than that restoring it and caring for it for 25 years. Whoever gets that, if they get it for $10,000, that represents a loss to us. But you can’t keep everything. A piece like that takes up a lot of room on the floor, and you can’t stack anything in it or on it. If you can tell the story of Pee-Wee’s Playhouse with three smaller objects [rather] than one that will take up real estate, you’re going to do it.

It’s amazing it survived so well. I believe the universe put me where I needed to be to advocate for these pieces. The puppet head was poking out, I know, so I could see it and advocate for it. This is much more than a job to me. It’s what I do. I don’t question it. I’m grateful I was there at a time when I could rescue it. [I asked him if he remembered which Pee-Wee’s Playhouse puppet caught his eye that day in the early 1990s; he could not say for sure.]

How did you get what you managed to get from the Pee-Wee’s Playhouse props? When I met Paul at the warehouse, he was very passionate, but a very practical man. There was a Paul pile, a Goodwill pile, with appliances from the set and toys that someone else could use, and a Dump pile. A studio truck was hired to take the discarded pieces to the landfill. That was the end of the road for those things. There was no James pile. My job was to convince him to give me what pieces I could get from the Paul pile and the Dump pile. It was difficult for him to part with any of them, which I respected.

What’s the Pee-Wee’s Playhouse Picturephone like in person? Monumental. This is a big, hulking piece, but it’s got a joyful character. It’s got eyes, and pouty lips that open up like saloon doors. It’s colorful, joyful, and recognizable. It’s a home run in every way.

How many people can fit inside the Pee-Wee’s Playhouse Picturephone booth? One, comfortably. I think it’s meant for one person. We don’t normally sit in the pieces. I think it was made just for him.

So you haven’t sat inside it? Absolutely not. It would be sacrilege, treacherous. It’s a piece of history and art. It’s not for me to degrade it by sitting in it.

Ok, I’ve gotta ask. Where is Chairry? Did Paul Reubens claim Chairry? That falls into the area of client privilege. I’m not able to say what he did and didn’t do. Rest assured the iconic pieces from the show are in his collection or an archival collection. Don’t worry. Chairry is cherished.

How to bid: The Pee-Wee’s Playhouse Picturephone Booth is lot 156 in Prop Store‘s TV Treasures auction on December 1, 2018.

How to subscribe to The Hot Bid: Click 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.

Prop Store is on Twitter and Instagram.

Comisar is also the president of the Museum of Television.

The Picturephone appears at three or four points in the background in the opening credits of Pee-Wee’s Playhouse. And that’s an uncredited Cyndi Lauper singing the theme song.

Yes, there is a Pee-Wee Wiki. Here’s the entry for the Picturephone.

Also! Google “Technology’s Greatest Visionary,” on Google Images, and take in the top row of images that the search engine spits back at you.

Image is courtesy of Prop Store.

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

SOLD! A Maurice Sendak-designed Crocodile Costume from the Opera Goose of Cairo Commanded (Scroll Down to See)

   
A crocodile costume designed by Maurice Sendak in the 1980s for a production of L'Oca del Cairo (Goose of Cairo), an unfinished opera by Wolfgang Amadeus Mozart.

Update: The Sendak-designed complete crocodile costume for Goose of Cairo sold for $3,750.

What you see: A crocodile costume designed by Maurice Sendak in the 1980s for a production of L’Oca del Cairo (Goose of Cairo), an unfinished opera by Wolfgang Amadeus Mozart. Rago Auctions estimates it at $3,000 to $5,000.

The expert: Justin G. Schiller, a specialist in rare and collectible children’s books. He co-created the corporation that consigned the costume to Rago Auctions.

So, how many operas did Sendak design for? Altogether I believe he did 15 operas and ballets. He began in 1980, with The Magic Flute, and his career went through to 2004 or 2005, with Brundibar. He was very interested in the experience of developing not only the sets and costumes, but trying to make the characters interactive.

Was this character the only crocodile character in Goose of Cairo, or was it one of several crocodiles? I think there was only one involved in the production. This is one of the few Sendak costumes that is complete. The head and feet are the main parts of those costumes. The bodysuits were painted to fit, but the crocodile costume was so specific, they kept everything.

Why is this costume described in the lot heading as being “After Maurice Sendak” rather than designed by Maurice Sendak? Maurice would have done the design on paper. The costume was created by the seamstresses, the people who make the costumes. In some cases, you see Maurice fix up the costume once it’s on the actor or the actress. He did the pictures, they did the physical production.

So he wouldn’t have been involved with making sure the costume was comfortable for the actor to wear? Yes, but if there was any problem with the fitting, he would have been consulted.

What do we know about Sendak’s approach to costume design? He took it very seriously. For example, when he was doing Hansel and Gretel, he went to German forests and studied the landscaping. It took him seven years to create.

Apparently it’s rare for a Sendak costume to survive intact, as this one does. How did it manage to do that? The production for Goose of Cairo was very short-lived. They [the few Goose of Cairo items that were found] were in a separate storage unit. It’s one of only two pieces of the production that survive. The other is a mechanical goose of Cairo that gets wheeled onstage, which Richard Michelson has. Goose of Cairo was never considered a main production, because it was an unfinished opera by Mozart. It’s usually presented as an interlude. It ran for about half an hour, and something else would have come with it. Maybe that’s why there weren’t many costumes.

Why are Sendak-designed costumes so scarce, compared to Sendak-designed sets? Probably because sets get rolled on stage or lowered on stage, and when they’re not on stage, they’re protected. Costumes get handled and used constantly. The condition of the crocodile is unusually good. It’s a simpler costume: bodysuit, head, gloves, foot coverings.

Is this crocodile costume a good representative of his opera costume design work? I would think it’s a very good example. The head is probably papier-mâché molded on top of a helmet so it fits on the head of an actor. From there, they’d build out the rest of the head, the body suit, the painted fabric. Several of the costumes we had would have the names of actors inside them and the names of the production companies.

Is that true here? No. I believe the crocodile had only one actor. When you have multiple figures wearing the same cluster of costumes, like in The Love for Three Oranges, different actors play the roles, and they all need to be fitted. Having names on them makes it much simpler.

And the provenance for this Sendak costume–it went from the New York City Opera to you to Rago Auctions? Yes, exactly. We specialize in Sendak.

How did you come to own the Sendak costume? The New York City Opera decided to sell all [the sets and costumes] they didn’t plan to put into sequence again [in 2013]. We decided to acquire as much as we could from productions they still had examples of.

How many costumes did you acquire? It didn’t seem like a lot. We purchased ten or twelve.

How many complete Sendak-designed costumes survive? I don’t really know. There were a few major ones. There was a fabulous one with a very grand lady who was a pig, and a bear dressed up like a lord, [both] for a different opera, and they went for $4,000 to $6,000 each, as the hammer price [the price before the premium and other fees are applied]. I talked to the collector afterward. She was a very serious collector of opera and theater costumes. It was a unique opportunity to acquire a costume by Sendak.

When Sendak created book illustrations, he worked in two dimensions. When he created opera costumes, he had to think, to some extent, in three dimensions. How did he handle this challenge? Sometimes it’s the costume people, but Maurice’s drawings often show a profile, how it looks from the side. But sets are one thing, costumes are another. The catalog only shows side views of the crocodile head. Head on, it’s fantastic.

What details on the crocodile costume mark it as a Sendak design? Maybe with certain specific styles, you can look at it and say that’s a David Hockney or that’s a Picasso. With Sendak, I would say basically the [sense of] fantasy, of playfulness. His ogress would be friendly, even if the character was not.

What jumped out and me and said “Sendak” was the crocodile’s eyes, and the snout. It certainly was the eyes that got us. They’re wonderful, almost yolk-colored eyes. The snout–most artists would draw it as menacing. Sendak’s snout is friendly instead of menacing, despite all the teeth.

The condition report states that the Sendak costume has “wear commensurate with theatrical use.” What does that mean in this context? It’s got scuffs or scrapes on the bottom of the tail and the foot coverings? That [the language] is mostly so people don’t think it’s brand new. The bodysuit may have a tear in the stitching, but overall, it’s quite good, and very dramatic.

Have you or your gallery partner or anyone at Rago Auctions tried on the Sendak-designed costume? You need a slim body [to wear it]. We told Rago they’d need some kind of body form [to display it and photograph it]. They were able to find a person on staff who could do the pictures. We were surprised and pleased that they were able to do that.

How does the wearer see? There are eyeholes in the neck.

Do you know what size the Sendak-designed costume is? I don’t. Dennis [Dennis David, Schiller’s gallery partner] is suggesting it’s probably more of a medium. Maybe that’s why the crocodile is not looking too hungry.

Is the head attached to the tail, or are they separate pieces? The head is certainly separate. The tail is attached with button snaps to the back of the bodysuit. The gloves are part of the bodysuit. The head, in itself, is very decorative.

What’s the auction record for a Sendak-designed costume? The only auction I know of is from the New York City Opera sale, three costumes that were very elaborate in themselves. We were the underbidder. They were probably from The Love of Three Oranges. Those sold for between $4,000 and $6,000 each.

How to bid: The Sendak-designed costume is lot 1141 in the Curiouser and Curiouser sale at Rago Auctions on December 1, 2018.

How to subscribe to The Hot Bid: Click 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.

Rago Auctions is on Twitter and Instagram.

Justin G. Schiller has a website. Two, actually.

Image is courtesy of Rago Auctions.

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