SOLD! The Steinlen Cat Poster with Two Progressive Prints Sold for (Scroll Down to See)

The completed version of the 1894 Théophile-Alexandre Steinlen poster, advertising his first gallery show. It features a calico cat and a black cat, both seated.

Update: The 1894 Steinlen cat poster, offered with two progressive prints, sold for $5,000.

What you see: An 1894 poster by Théophile-Alexandre Steinlen, advertising a show of his work at the Bodiniére gallery. It also includes two progressive prints of the lithographic poster (scroll down to see them). Rennert’s Gallery estimates the group at $14,000 to $17,000.

The expert: Jack Rennert of Rennert’s Gallery.

I realize to some extent that all posters are advertisements for an artist’s skills, but how unusual is it to see a poster as literal as this one, which advertises Steinlen’s first gallery show in Paris? He did this for an exhibition at Bodiniére. It’s not a reproduction of a poster or a painting [in the show]. It’s an actual design, integrated with text, and he designed the text. It’s completely his poster.

What does it say about him that when choosing the image for this poster–which is intended to lure people to the gallery to buy his artworks–he chose to depict cats? Cats are one of his most iconic and popular images. He loved cats, and had a house full of them. People say you could tell where he lived within five blocks of his house.

The lot notes describe the pair shown on the poster as “his cats.” Might we know which of his cats modeled for this? Did they have names? Or were these imaginary cats? He had dozens of stray cats that he brought into his home in Paris. He didn’t need to imagine them. He had his models right there in his home. Lot 450, the following lot, is maybe his most famous poster of all, and it has his daughter, Colette, and three cats. It was for sterilized milk. She’s testing it before she gives it to them. Of the three cats, the two at the front could be the same two in the Bodiniére exhibit poster. He did them two years apart.

Are the cats in the Bodiniére exhibition poster shown at around life size? The poster is 32 inches wide by 23 inches high, so yeah, pretty much life size. They take up half the entire image of the poster.

The poster is horizontal. Is that unusual for this era? Yes. Ninety percent of the posters of the 1890s were vertical posters, meant to go on vertical spaces, like hoardings. It could have been that this Bodiniére exhibit poster was never meant to be an outdoor advertisement. It could have been in store windows.

Do I sense Japanese influence here? It kind of reminds me of Japanese woodcuts. Japanese art was very popular and influential with many artists in the 1890s, especially in Paris. You can see some of that in the treatment here, especially in the coloring of the cats. But I wouldn’t put too much stock in that. This is Steinlen and his way of drawing.

Do we have any notion of how many of these posters were printed, and how many survive? We don’t know, and I’ve spent a lifetime trying to find out. I would guess that since it was a one-time exhibit, for one month, in one place and one city, I don’t think he would have had more than 200 or 300 copies made. There was no need for more.

This example of the poster comes with two progressive prints of the design, which show lithographic color passes. How do the prints give insight into how the poster was made? It’s stone lithography, so first, they’d do just the gray area, then overprint it with black in a few areas, giving it a solid, deep black look. The third color plate is red, which gives a nice color to the cat and the lettering. It’s unusual to show the final product and how it was arrived at.

A progressive print of the 1894 Théophile-Alexandre Steinlen poster, advertising his first gallery show. It focuses on the gray areas of the image.

Do we have any idea how this example of the poster survived with two related progressive prints? I’d say it’s more likely that it came from the archive of Charles Verneau, his favorite printer. There’s no reason for someone outside of a printing plant to have them. Every now and then you do see progressive prints for a poster, and inevitably, they come from printers’ storage. They’re rare.

How many times have you handled the Steinlen Bodiniére Exposition poster? Over the last 50 years, I’ve handled it ten to 12 times.

And how rare is it to see any poster with progressive prints, never mind a poster as iconic as this Steinlen? It’s extremely rare. Only real passionate poster collectors care enough to even want it. There’s nothing pretty about them. They’re incomplete works. But they appreciate seeing what went into the final [lithographic] stone.

In your 50 years in the business, how often have you seen a poster with progressive prints come up? I’ve probably had a couple dozen instances of that. Once every two or three years, I get a series.

So the Steinlen plus progressive prints will be of more interest to a museum or an institution? Absolutely. I expect museums, galleries, and foundations to have a special interest in them.

How did the presence of the progressive prints affect the estimate? It obviously increases it, but not by a hell of a lot. The poster often sells for $10,000. I estimated this in the $14,000 to $17,000 range because of the prints.

A progressive print of the 1894 Théophile-Alexandre Steinlen poster, advertising his first gallery show. It focuses on the black areas of the image.

What’s the world auction record for this Steinlen poster? Was it set with you? The highest at our auctions was $9,200 in 2006. [This seems to be the world record, not just a house record.]

What makes this a successful poster? Why does it still sell for thousands of dollars more than a century after it was printed? It’s very appealing. It catches your attention. Cat people have an additional reason to be enamored of it. It’s one of the favorite posters by one of the most famous poster artists of the period. It was an important exhibition for him. It established him in the artistic community.

So the 1894 show did well? It was a successful show for him. He sold all his works. I won’t say it was because of the poster, but maybe it takes some of the credit.

How to bid: The 1894 Steinlen Bodiniére Exposition poster is lot 449 in the PAI-LXXVIII: Rare Posters auction taking place at Rennert’s Gallery on June 23, 2019.

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An Amazing 1935 Negro League Baseball Broadside, Featuring Over 100 Players and 15 Hall of Famers, Could Command $20,000 at Hake’s

This page from the 1935 Negro League Baseball broadside shows the Homestead Grays.

What you see: A 1935 Negro League baseball broadside, picturing six of the eight active teams of the time. Hake’s Auctions estimates it at $10,000 to $20,000.

The expert: Philip Garry III, Hake’s sports consultant.

How rare is Negro League Baseball (NLB) material in general? I suspect less of it was made, and less of it was saved. Is that correct? Exactly. Before Major League Baseball (MLB) became integrated in 1947, it was very unusual to find any surviving examples of NLB material, whether it was game-used pieces, cards, postcards, scorecards, or broadsides. There was never a single NLB baseball card issued in the United States, as opposed to millions released for MLB up until 1947.

Who was the audience for this cardboard broadside? It was not for sale. It was not produced for public collectibility. The audience was local townspeople, and it tried to draw them to a game. If you’re in inner city Pittsburgh, walking down Main Street, and you pass a hardware store, it might have this in the window. Some were displayed outdoors, posted on trees. I guarantee this one was in a store, because it survived in such nice condition.

Josh Gibson's image from the 1935 Negro League Baseball broadside.
Josh Gibson

The lot notes call this “what we believe to be the finest surviving example of Negro League Baseball advertising ever produced.” Could you elaborate? What makes it so fine? Going back to 2014, I researched NLB collectibles in general for over a year. I looked for anything with picture images on it–scorecards, broadsides… I didn’t have a whole lot of luck with photographs being pictured for the most part, until 1940. Then the images start getting clearer. Complete images of players in 1935 is unprecedented.

The lot notes also say player images were rarely featured before 1935. Is that true of just NLB, or all forms of professional baseball in the U.S. then? The NLB. It didn’t have quite so much in the way of broadsides. Expense and cost probably played a part in it. In the NLB, money was always tight.

The first page of the 1935 Negro National League broadside shows group shots of six of the eight teams.

Six of the eight 1935 NLB teams are shown on this broadside. Is it possible to know why the Newark Dodgers and the Philly Stars are not pictured here? It seems extra-weird that the Stars appear in name only, considering they were the defending champions. My guess is they [the leaders of the NLB] planned to do something similar for all teams in the league, but for some reason, production stopped too quickly. To raise the money to print, they probably went to each team and said “Look, we’re going to promote all the teams, and the cost is $100 per team,” and six said “OK” and paid it. The other two, maybe, didn’t have the money or didn’t think it was worthwhile. So they’re represented, but there are no pictures.

And this having “Nashville Elite Giants” on the front implies this was probably meant for display somewhere in Nashville, Tennessee? Probably. Whether they made them for other teams, I don’t know.

The Chicago American Giants team from the 1935 Negro League Baseball broadside.

What accounts for the way the pages of player photos are composed? My guess is they extracted the players’ images from the team photo. It’s possible that the Philly Stars and the Newark Dodgers didn’t have a team photo.

So, it looks great, but what else makes the broadside extraordinary? A total of 15 of the players are in the Baseball Hall of Fame at Cooperstown, New York, not counting the two teams who are not pictured. It has over 100 players [shown] on it. If any new [NLB] players get in the Hall of Fame, it will drive up the value further. The more superstars, the higher the value. Not only is the broadside worth a lot now, it has good investment potential for the future.

How many other copies of this broadside are known? My research shows three others have come up for auction. They are three different copies. You can see when they come up that the condition is different.

What’s the world auction record for this piece? The highest price I found was in 2010 at Heritage Auctions, which sold a copy for $6,572.50.

Cool Papa Bell's portrait from the 1935 Negro League Baseball broadside.
Cool Papa Bell

How did this particular copy manage to survive in such good condition? It was probably indoors instead of outdoors, and when the store owner was finished displaying it, he took it down and put it away, and it stayed in the building for who knows how long. Or, it went back to a team executive who took it back, and it stayed in a team archive for a while. Or, it went to a player. Executives’ and players’ estates are often the way this material comes to auction. That’s how a lot of it gets to the public.

Is there anything else out there among NLB collectibles that comes close to this broadside? There’s a 1924 Negro League World Series panoramic photo that shows 41 or 42 individual players and eight Hall of Famers. That’s the best I could find outside of this one.

The legendary Pittsburgh Crawfords, as shown in the 1935 Negro League Baseball broadside.

This broadside pictures the 1935 Pittsburgh Crawfords, which the lot notes say might be the “finest baseball club of all time. black or white”. Could you talk a bit more about that? What makes the 1935 Pittsburgh Crawfords legendary? In early baseball, the pitcher and the catcher tend to be the most important from a fan viewpoint. The Crawfords put Satchel Paige on as a pitcher, and Josh Gibson as a catcher. Paige was the best, and Gibson was the best. Getting both made for a tremendously successful team. Then they had Oscar Charleston, who was one of the top two all-around NLB players ever. With Oscar, they had a dynasty. Add Cool Papa Bell and Judy Johnson, and you have five Hall of Famers on one team, all at the peak of their careers, except Charleston, who was on a slide.

What is the broadside like in person? It’s big. It’s 22 inches by 28 inches. A very imposing piece. The clarity is excellent, compared to team photos and other broadsides. The images are so good, you can identify all the people on there. The outer boundary edges and the corners are intact. There are no pieces missing, no chips. Toning [a brown discoloration] is minimal compared to other copies. It’s just a great item. If you’re going to have one piece, this is the one to have. It has so much going for it.

Satchel Paige's photograph from the 1935 Negro League Baseball broadside.
Satchel Paige

Why will this piece stick in your memory? I was at the 2010 auction at Heritage and saw that one in person, but this is the first I’ve handled. I was always a big fan of this piece. Besides its appeal to the NLB collector base, a lot of people collect Baseball Hall of Fame material. This will strongly appeal to them because there’s 15 Hall of Famers on it. And a few NLB guys appear in virtually no other photographs. If you’re looking for those guys, this might be your only chance, ever, to fill the hole in your collection.

How to bid: The 1935 NLB broadside is item 519 in Auction #227 at Hake’s Auctions. Bidding on this particular item ends on July 10, 2019.

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You can purchase Philip Garry III’s Negro Leagues Baseball collectibles guide on eBay.

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WOW! An Abraham Lincoln Parade Lantern Sold for (Scroll Down to See)

This rare circa 1860s parade lantern features an image of Abraham Lincoln on one panel and a spread-winged eagle sitting on a shield with the word "union" on it.

Update: Heritage Auctions sold the Abraham Lincoln parade lantern for $22,500.

What you see: A glass and tin Abraham Lincoln parade lantern, dating to the 1860s. While Heritage Auctions has not given it an official estimate, bidding opened at $7,500.

The expert: Tom Slater, director of Americana auctions for Heritage Auctions.

How popular were political torchlight parades in the 19th century? In the 19th century, obviously, they didn’t have the communications media we have today. It was important to promote candidates, and torchlight parades were a popular way to do that. They were big events, and integral to politics from 1830 to about 1880 or 1890.

And they fade away after electricity begins to spread? Sure. It’s not coincidental that you see them until the 1890s.

How rare are these lanterns, period, never mind those that depict Abraham Lincoln? I’ve only seen one, two, or three examples of each type. It’s hard to say how many of them there were.

How many people in a parade would have had a lantern as fancy as this one? Multiple people carried torches on the ends of poles. Something like this, there would have been fewer to begin with. They’re really, really rare. We don’t really have evidence if [paraders carried] multiples of this exact type. They heyday of tin and glass lamps is from 1850 to 1872.

So, one person might have had the privilege of carrying this lantern, and the rest might have had more mundane lanterns? It could very well be. It would have been like with a candle. There’s a fitting in the bottom for one.

Is the pole original? It’s the original tin pole. It would have extended a couple of inches beyond what you see in the pictures to fit into a wooden pole.

What’s that thing on the top that looks like an upside-down cupcake wrapper? It’s a vent. Heat would vent from the candle.

Are the printed paper Lincoln and eagle-with-shield images sandwiched between clear glass? The glass is outside, protecting the paper, which adheres to the reverse of the glass. There’s deterioration around the perimeter, which is not that surprising.

Yes, what kind of condition is the lantern in? And what does it mean to talk about condition when maybe three examples survive? You could use the term “excellent” if you wanted to. It’s all there–all four glass panels, and the image is strong. It’s all there. There’s as much as you could ask for from a lantern.

So it has the ideal amount of wear? If it looked like it was made yesterday, it wouldn’t be interesting to me. This has the perfect look. You can see immediately that it’s old. You can relate it to something that happened 150 years ago.

The rare circa 1860s campaign parade lantern for Abraham Lincoln, showing the other two sides of the four-sided object. One is entirely blue, and the other is entirely red.

Why are two of the four panels colored red and blue? To make it colorful, and make a better, colorful display. There’s no symbolic significance. You see red and blue in a lot of political material.

Have you tried putting an LED light in it to get a notion of what it looked like all lit up? That would be ideal. There’s always a risk that a candle could fall over and set the paper on fire. Some have to be backlit [to get a notion of what they’re like] but in this case, as long as there’s daylight, you can see the image very clearly. You don’t need a light inside to make it present better.

Do we know what company might have made the lantern? We don’t.

But it wasn’t made by an enthusiastic individual? It’s definitely manufactured, with paper inserts sized to fit that particular lantern. It’s a complete manufactured unit. It was almost certainly made in New England.

Would Lincoln’s campaign have provided the lantern to paraders? We’re sure it didn’t come from a central source. Political parties were much more local in those days. There was probably a company you could order it from, but it was not provided from above.

How on earth did something this fragile survive so well for so long? The vast majority of lanterns did not survive. People didn’t think they were important to save. Generally, these were disposable, not made as souvenirs to be kept. They served a purpose. But there’s no specific information on how, when, and where [this one survived].

Have you seen the other two surviving Lincoln lanterns? How does this one compare to them? We’re just guessing there might be three. Personally, I’ve never seen another. I can guarantee there’s not five.

This lantern is shown on page 274 of Arthur Schlessinger Jr.’s book Running for President: The Candidates and Their Images 1789-1896. How, if at all, does that affect the lantern’s value? It definitely adds something. It’s considered one of the definitive reference books on political memorabilia. Being chosen to illustrate the book adds cachet. I’m not sure it adds dollar value, but it adds cachet.

What is it like in person? It’s arresting. It communicates the flavor of the times. It’s a very evocative piece, very pleasing to look at.

Why will it stick in your memory? It’s a particularly rare and desirable type of item. You don’t see it very often. And it’s Lincoln. Everybody loves Lincoln. Lincoln is magic because of his historic nature–a wartime president, maybe the greatest president, and he was assassinated at the end of the war. We get bids on Lincoln items from people who aren’t political collectors.

How to bid: The Lincoln lantern is lot #36163 in The David and Janice Frent Collection of Presidential and Political Americana, Part V, taking place at Heritage Auctions June 22 and June 23, 2019.

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SOLD! A George Sosnak Grantland Rice Baseball Fetched (Scroll Down to See)

A baseball transformed by self-taught artist George Sosnak. This angle showcases the words "First World Series Aircaster Writer Grantland Rice."

Update: The baseball George Sosnak dedicated to Grantland Rice and the 1921 World Series sold for $2,396.

What you see: A baseball transformed by the late self-taught artist George Sosnak. SCP Auctions estimates it at $5,000 to $7,000.

The expert: Dan Imler, vice president of SCP Auctions.

How prolific was Sosnak? Has anyone done a count or a census of how many balls he decorated? I’ve read in the past that he completed roughly 800 to 1,000 baseballs, but he started roughly 3,000. And he was definitely prolific in the sense of his following and his admirers. His baseballs have been exhibited in many museums, including folk art museums.

He was born in 1922 and died in 1992. Do we know how long he was active as an artist? I definitely think he was most prolific in the 60s and the 70s. In fact he donated some of his work to Cooperstown [The National Baseball Hall of Fame in Cooperstown, New York] in the early 70s.

What do we know about his creative process? How did he choose his subjects, and how did he create these baseballs? He was definitely focused on notable figures and milestones. He was not confined to players, as you can see by the Grantland Rice baseball we have. He celebrated figures from all facets of the game. In most cases, he started with an autographed ball and built around that–stats, historic data, combined with colorful scenes.

Did Rice autograph it? That’s not the case with this ball, but many Sosnaks I’ve seen have autographs on them.

If a Sosnak has an autograph, how does that factor in to its value to collectors? I think most people collect Sosnak balls for the artistry. That’s where the value is. If the autograph was Babe Ruth or Ty Cobb, it might be more valuable, but it’s looked at for its artistic value more than anything else.

Do we have an idea of how long it would take Sosnak to complete a baseball, and how long it might have taken him to finish this one? We can only make an assumption by looking at the detail of his work, the thoroughness of it. If you look at the Grantland Rice ball, every centimeter of the ball’s surface is covered and well thought out and almost tells a story. I imagine it took many hours of work to produce the typical Sosnak ball.

A baseball transformed by self-taught artist George Sosnak. This angle shows how Sosnak crammed a recap of the 1921 World Series within the borders of this seam of the ball.

Do we know what media he used to produce this–markers? Paint? From what I’ve read, the media was India ink.

Do we know why he chose Grantland Rice to showcase on this ball? Sosnak was an aficionado of baseball and all baseball facts. He himself was a minor league umpire. He had a lot of experience in the game, and a lot of passion for it. What inspired this ball is appreciation for the great historical figures of the game. Grantland Rice was as prolific as it gets in his field.

Did Grantland Rice commission this ball, or ever see it? We don’t know that, but Sosnak was known to give balls to subjects as gifts. We’ve done a lot of athletes’ estate sales, and we see Sosnak balls received as gifts.

A baseball transformed by self-taught artist George Sosnak. This angle showcases his portrait of Grantland Rice broadcasting the 1921 World Series over the telephone system.

How might the fact that Grantland Rice appears on this ball affect its value to collectors? Or does the … decorative intensity matter more? All the factors combine to contribute to the value–subject matter, graphic quality. This one in particular has a dual subject, a dual purpose. It acknowledges Grantland Rice and also memorializes the 1921 World Series.

Forgive me as I don’t know off the top of my head, but why was the 1921 World Series significant? The 1921 World Series might be acknowledged as the first broadcast World Series.

Is that why Sosnak uses the word “Aircaster”–a word I’ve never encountered before? I think it’s a primitive term for “broadcaster”. Grantland Rice telephoned the play-by-play. It was a very primitive broadcast via telephone over four New England radio stations. That ground-breaking aspect is being celebrated on this ball.

Is there a date on this ball? Do we know when Sosnak made this? There’s no date. The only thing we have to go by is a very faint Rawlings stamp on the baseball. It looks like it was probably late 1970s, based on the type of ball it’s on.

What details do Sosnak collectors want in a baseball, and does this one have them? First, I would say great imagery. One panel has a wonderful image of Grantland Rice broadcasting, and you have the Yankees logo and the Giants logo, the two World Series combatants. It has great titling, and a complete, complete play-by-play of the game. It’s just covered. The decorative quality and historical content is just fabulous.

A baseball transformed by self-taught artist George Sosnak. This angle showcases how tightly Sosnak crammed the ball's surface with information about how the 1921 World Series played out.

Where does this Sosnak ball rank on the scale of information-density? It’s on the higher end of the scale, I would say. But there are many like it.

And collectors prefer Sosnak balls that are thoroughly jammed with text? Absolutely. The greater sampling of his work, the better.

Do we know about the provenance of this ball? We really don’t. There’s no long chain of custody here prior to our consigner. He’s had it for many years and we can’t trace it beyond that.

What condition is it in? This one is in relatively high grade for a Sosnak ball. They are susceptible to wear and chipping. This one shows very little of that. He’d typically put a coat of shellac over the ball to protect the ink.

That has to be a problem with Sosnak balls–you want to pick them up and turn them over, to see everything on them. Yeah, there’s something to see on all sides. If you want to fully digest it, there’s a lot of reading to be done.

Another angle on the baseball transformed by self-taught artist George Sosnak, showing statistics and facts about the 1921 World Series between the Yankees and the Giants.

How many Sosnak balls have you handled? How often do they tend to come up? We’ve had probably a dozen in our history. In various auctions, half a dozen to a dozen per year come up. They’re very collectible, and there’s not a lot of turnover. When collectors acquire them, they tend to hang onto them for a while.

Have you handled it? What’s it like in person? I have. It’s stunning, it’s gorgeous. The colors are very, very vibrant. They don’t seem to have faded or changed much since it was created. He used high-quality materials and on top of that, it’s very well-preserved.

What’s the world auction record for a Sosnak? The highest price I could find is $15,500, a Stan Musial, part of his personal collection, sold in 2013.

Why will this piece stick in your memory? Sostak balls are all unique. Every time you see one, you have to be in awe. It will stick in my mind because I got a history lesson about Grantland Rice and the 1921 broadcast. I not only appreciate the artistry of the ball, I got an education as well.

How to bid: The George Sostak Grantland Rice baseball is lot 10 in SCP Auctions‘s current sale, which opened June 5 and closes on June 22.

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Oleg Cassini’s Archive of White House-era Jacqueline Kennedy Material Could Command $6,000 at Doyle

Fashion drawing done for First Lady Jackie Kennedy by a member of the House of Cassini.

What you see: An image from an archive of more than 40 original drawings, letters, clippings, and other materials from the early 1960s that show how designer Oleg Cassini and his team developed fashions for First Lady Jacqueline Kennedy. Doyle estimates it at $4,000 to $6,000.

The expert: Peter Costanzo, senior vice president at Doyle as well as its executive director for books, autographs, and photographs; coins, bank notes, and postage stamps; and estate and appraisal services.

How rare is it for something like this archive to survive? Is there anything similar between the First Lady and another fashion designer that dates to the White House years? It’s hard for me to say. It is a special archive. It’s Oleg Cassini’s workroom archive, and it shows a working relationship. It was ephemeral then, and it’s ephemeral now. The clothes were the final goal. This was how they did it in the analog age, by drawing everything out. They sat with Mrs. Kennedy and homed in on what she needed for her appearances and her events. Cassini made over 300 pieces for Mrs. Kennedy.

Wow, so he was really her go-to guy. Yes.

How did this archive survive? The archives usually remain with the fashion houses if they’re not discarded. This is a rare opportunity because material like this is seldom on the market.

What does this archive reveal about the working relationship between the First Lady and Cassini’s team? Mrs. Kennedy was highly involved in the process. She provided ideas and made her own drawings. She went through fashion magazines and newspapers and noted what she liked and didn’t like, and they would react to it. She would draw [fashion sketches] and write little comments on fabrics she liked and didn’t like. And she would comment on accessories–this needs a bag or a coat to match. The lot includes contact sheets–Cassini had models that wore Mrs. Kennedy’s size. She would annotate the pictures of the models. She’s very honest in her comments to him and very forthcoming. She felt very comfortable in the relationship and felt it went very well.

Fashion drawings by First Lady Jacqueline Kennedy, from lot 22 in the Doyle auction.

Are you aware of any other archive that’s come to auction that contains fashion drawings in Mrs. Kennedy’s own hand? We sold a similar fashion archive a few years ago. [It sold in November 2017 for $11,875.] It’s related to the same workshop, from the same period, and was retained by one of the workshop employees at the time. This is similar.

And Cassini stored it all this time? It comes directly from his estate. It was in his home in Oyster Bay, New York.

What was Jacqueline Kennedy’s relationship with Oleg Cassini like? It was extremely intimate. He was the one putting clothes on her back when she was the most-photographed woman on the planet. It has to be considered a collaboration with a wonderful public figure who embraced and acknowledged her role. I think that’s what we see with Cassini and Mrs. Kennedy.

And we know this archive stops in 1962 because… that’s the latest-dated item in it? I have something equally of note in the sale, but selling separately: Lot 14, a detailed workroom ledger of the Kennedy White House years. I know the record book starts in 1961. Page 14 is dated March 1963. The last entry before the assassination is November 13, 1963. There’s something somewhat ominous [mentioned in the ledger]–a pink costume dress and jacket. I think it’s poignant that the last entry before the assassination ends with a pink item.

What condition is the archive in? I think it’s in very good condition from the time of use until now. In the time it was used, it was handled, folded, mailed, and written on. There are some handling creases and torn corners, but it’s very well-preserved overall. The handling is original with its use.

Fashion drawing, with handwritten notes, done by First Lady Jackie Kennedy in the early 1960s. It shows three headless figures.
Another fashion drawing by the First Lady, with handwritten annotations.

What is it like to handle this material? It puts you in the moment with them. You feel like you’re in the room–that’s been my experience. It’s wonderful to feel like you’re in a workroom with Oleg Cassini and Mrs. Kennedy as they produced clothing that became iconic. The designs really became emblematic of the beginning of the 1960s–the Jet Set era, the Jackie look.

Why will this lot stick in your memory? Because it’s highly primary material. It’s a rare opportunity to engage with high-quality First Lady material, let alone the White House years known as Camelot, which doesn’t seem to recede from memory at all. It’s remarkable to view these items. That’s why they’ll stick with me.

How to bid: The Cassini-Kennedy archive is lot 22 in The Estate of Oleg Cassini, a sale taking place at Doyle on June 27, 2019.

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SOLD! The Mirror of Paradise Golconda Diamond Commanded (Scroll Down to See)

The Mirror of Paradise 52.58-carat Golconda diamond, shown in full on a black background. Part of the ring setting is visible on either side of the stone.

Update: The Mirror of Paradise 52.58-carat Golconda diamond sold for $6.5 million.

What you see: The Mirror of Paradise, a 52.58-carat Golconda diamond set in a ring. Christie’s estimates it at $7 million to $10 million.

The expert: Daphne Lingon, head of jewelry for Christie’s Americas.

First, could you explain what Golconda is–is it a city? A region? A mine? It’s a district. You could say, in more general terms, it’s an area. It’s near Hyderabad, in south India. Of areas that produce diamonds, it is by far the most famous.

Has anyone done a survey or a census of known Golconda diamonds? I imagine that would be difficult, given that people cut and reshape diamonds… Mining began in 400 B.C.E., and went on for 2,000 years. It’s impossible to know the number of stones, and they can be cut and refashioned. There’s no way to track it.

When did Golconda stop yielding diamonds? About 1725.

What is it about Golconda diamonds that give them their famous limpid quality? Has anyone studied the geography or the chemistry? It’s because of the lack of nitrogen in them. It gives them a unique purity. Nitrogren impedes the transmission of light. Their lack of nitrogen allows them to transmit light in an unimpeded way.

The Mirror of Paradise 52.58-carat Golconda diamond, shown in three-quarter view on a black background. It is in a ring setting.

What do we know about the provenance of the Mirror of Paradise? Do we know when it came out of the ground, and how big the rough stone was? No, but we can assume, given that it’s 52 carats, the rough was over 100 carats. But there’s no way for us to know.

The Mirror of Paradise has a rectangular cut. Is it possible to know if that is its original cut? Also, how does the rectangular cut enhance the stone? The rough would have dictated what shape it is. You can find Golcondas in all shapes. The cut of the Mirror of Paradise is so spectacular. It gives it a brilliance you don’t often find in an emerald cut.

Do we know when and how it was placed in a ring, and do we know who designed the ring? We don’t know, unfortunately. It’s how it came to us from the client.

The Mirror of Paradise 52.58-carat Golconda diamond, shot from the side on a black background and angled to display its ring setting.

Christie’s New York sold the Mirror of Paradise two times previously, in 1988 and 2013. Was it in the ring setting for both sales? It was in the same mounting the last two times it was sold at Christie’s.

When was the last time a Golconda weighing 50-plus carats came to auction? We sold the 76.02-carat Archduke Joseph diamond in November 2012 in Geneva for CHF 20,355,000 [About $21.4 million. The sale also represents a world auction record for a colorless Golconda diamond.]

So, six years ago. Is it fair to say that Golcondas of 50 carats or more tend to pop up every six to ten years? You never know when they’re going to come up, but I would say that.

How does the market for Golconda diamonds compare to the market for white diamonds generally? This is a very specific subset of a larger market. It’s always highly sought-after by collectors and connoisseurs who are looking for unique and special stones. Certainly among clients there is a premium, and a general interest.

How did the Mirror of Paradise perform when it sold at Christie’s New York in 1988 and 2013, and what does that say about the market? In 1988, it sold for $7.48 million. In 2013, it sold for $10.9 million. The sales show a steady increase for Golcondas.

The Mirror of Paradise 52.58-carat Golconda diamond, shot on a black ground, head on, to showcase the rectangular cut of the stone.

Have you worn the ring? Yes.

What was that like? [Laughs] It was a bit breathtaking to try it on. It’s an exceptional stone. One of the perks, or requirements, of the job is actually trying jewelry on, because a lot of clients aren’t able to see it in person. Being able to handle and interact with the pieces gives a better sense of what they’re like. They’re not just objects–they’re worn.

How does the Mirror of Paradise compare to other Golcondas in the same sale? We don’t have anything else quite like this [in the auction]. It’s so incredible–the breadth of what’s offered in the collection spans 500 years. I think this stone certainly stands on its own.

What is it like in person? We have photographers that are trained only in jewelry photography, but seeing it in person is different. A camera never fully captures the essence of a stone–the size, the luster, the luminosity–you need to see it in person to fully grasp the presence of it.

How to bid: The Mirror of Paradise is lot 229 in the Maharajas & Mughal Magnificence auction at Christie’s New York on June 19, 2019.

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Will An Abraham Lincoln Lantern Burn Brightly at Heritage Auctions?

This rare circa 1860s parade lantern features an image of Abraham Lincoln on one panel and a spread-winged eagle sitting on a shield with the word "union" on it.

What you see: A glass and tin Abraham Lincoln parade lantern, dating to the 1860s. While Heritage Auctions has not given it an official estimate, bidding opened at $7,500.

The expert: Tom Slater, director of Americana auctions for Heritage Auctions.

How popular were political torchlight parades in the 19th century? In the 19th century, obviously, they didn’t have the communications media we have today. It was important to promote candidates, and torchlight parades were a popular way to do that. They were big events, and integral to politics from 1830 to about 1880 or 1890.

And they fade away after electricity begins to spread? Sure. It’s not coincidental that you see them until the 1890s.

How rare are these lanterns, period, never mind those that depict Abraham Lincoln? I’ve only seen one, two, or three examples of each type. It’s hard to say how many of them there were.

How many people in a parade would have had a lantern as fancy as this one? Multiple people carried torches on the ends of poles. Something like this, there would have been fewer to begin with. They’re really, really rare. We don’t really have evidence if [paraders carried] multiples of this exact type. They heyday of tin and glass lamps is from 1850 to 1872.

So, one person might have had the privilege of carrying this lantern, and the rest might have had more mundane lanterns? It could very well be. It would have been like with a candle. There’s a fitting in the bottom for one.

Is the pole original? It’s the original tin pole. It would have extended a couple of inches beyond what you see in the pictures to fit into a wooden pole.

What’s that thing on the top that looks like an upside-down cupcake wrapper? It’s a vent. Heat would vent from the candle.

Are the printed paper Lincoln and eagle-with-shield images sandwiched between clear glass? The glass is outside, protecting the paper, which adheres to the reverse of the glass. There’s deterioration around the perimeter, which is not that surprising.

Yes, what kind of condition is the lantern in? And what does it mean to talk about condition when maybe three examples survive? You could use the term “excellent” if you wanted to. It’s all there–all four glass panels, and the image is strong. It’s all there. There’s as much as you could ask for from a lantern.

So it has the ideal amount of wear? If it looked like it was made yesterday, it wouldn’t be interesting to me. This has the perfect look. You can see immediately that it’s old. You can relate it to something that happened 150 years ago.

The rare circa 1860s campaign parade lantern for Abraham Lincoln, showing the other two sides of the four-sided object. One is entirely blue, and the other is entirely red.

Why are two of the four panels colored red and blue? To make it colorful, and make a better, colorful display. There’s no symbolic significance. You see red and blue in a lot of political material.

Have you tried putting an LED light in it to get a notion of what it looked like all lit up? That would be ideal. There’s always a risk that a candle could fall over and set the paper on fire. Some have to be backlit [to get a notion of what they’re like] but in this case, as long as there’s daylight, you can see the image very clearly. You don’t need a light inside to make it present better.

Do we know what company might have made the lantern? We don’t.

But it wasn’t made by an enthusiastic individual? It’s definitely manufactured, with paper inserts sized to fit that particular lantern. It’s a complete manufactured unit. It was almost certainly made in New England.

Would Lincoln’s campaign have provided the lantern to paraders? We’re sure it didn’t come from a central source. Political parties were much more local in those days. There was probably a company you could order it from, but it was not provided from above.

How on earth did something this fragile survive so well for so long? The vast majority of lanterns did not survive. People didn’t think they were important to save. Generally, these were disposable, not made as souvenirs to be kept. They served a purpose. But there’s no specific information on how, when, and where [this one survived].

Have you seen the other two surviving Lincoln lanterns? How does this one compare to them? We’re just guessing there might be three. Personally, I’ve never seen another. I can guarantee there’s not five.

This lantern is shown on page 274 of Arthur Schlessinger Jr.’s book Running for President: The Candidates and Their Images 1789-1896. How, if at all, does that affect the lantern’s value? It definitely adds something. It’s considered one of the definitive reference books on political memorabilia. Being chosen to illustrate the book adds cachet. I’m not sure it adds dollar value, but it adds cachet.

What is it like in person? It’s arresting. It communicates the flavor of the times. It’s a very evocative piece, very pleasing to look at.

Why will it stick in your memory? It’s a particularly rare and desirable type of item. You don’t see it very often. And it’s Lincoln. Everybody loves Lincoln. Lincoln is magic because of his historic nature–a wartime president, maybe the greatest president, and he was assassinated at the end of the war. We get bids on Lincoln items from people who aren’t political collectors.

How to bid: The Lincoln lantern is lot #36163 in The David and Janice Frent Collection of Presidential and Political Americana, Part V, taking place at Heritage Auctions June 22 and June 23, 2019.

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WHOA! A Mickey Mouse Fantasia Sorcerer’s Apprentice Model Drawing Fetched (Scroll Down to See)

A model drawing of Mickey Mouse, dressed in his Sorcerer's Apprentice costume of red robes that tie at the waist and a blue wizard's hat. He is in the classic Sorcerer's apprentice pose, with an arc of yellow light springing from his left hand and hovering over his right index finger. The drawing is rendered in colored pencil.

Update: The circa 1940s Disney model drawing of Mickey Mouse as the Sorcerer’s Apprentice sold for $10,200.

What you see: A Disney “model drawing” of Mickey Mouse as the Sorcerer’s Apprentice from Fantasia. It dates to the 1940s. Heritage Auctions expects it to sell for $2,500 to $3,500.

The expert: Jim Lentz, director of animation art for Heritage Auctions.

So, what makes this the “Holy Grail of Mickey Mouse art”? Mickey Mouse was changed in 1939 by Fred Moore to have pupils. The Sorcerer’s Apprentice was originally going to be a short, but they needed box office power for the art film, so they put it into Fantasia. When you rank Mickey Mouse’s greatest hits, the Sorcerer’s Apprentice is considered his number one all-time appearance. It’s the Fred Moore design, the first time Mickey Mouse has pupils, Fantasia, and Mickey Mouse’s signature role of all time.

Did Fred Moore make other notable changes to the design of Mickey Mouse? The ears changed a little bit, and the face is fuller. But the introduction of pupils was a big thing.

This is a model drawing. What are model drawings, and how did Disney use them? A model drawing is used for reference, for publicity, for books, and for posters. It didn’t go under the [animation] camera. It’s always perfect, and it’s used for reference on how something is to be drawn. It’s a high-quality piece of artwork.

This one is identified as MD-28. Does that imply that Disney did at least 27 other model drawings for Fantasia? No, it’s just an inventory number for the studio.

Are there other Mickey Mouse Fantasia model drawings? There’s never just one, but it’s the only one of the quintessential [Mickey Mouse Fantasia] pose seen everywhere that’s come to market. I’ve been doing this [animation art] for 40 years and I’ve never seen it. I’ve seen it on the covers of books and press kits. It’s a famous pose.

Is it at all possible to know who at Disney would have done this model drawing? No, it’s not known. You have to remember that the animators weren’t paid to be artists. They were making films. The artist was always Walt Disney Studios. At that time, the head of art for Disney Publicity was Hank Porter, but we can’t say it’s Hank Porter. There’s no way to know it’s him.

Was there someone, or some type of animator at Disney to whom the task of model drawing typically fell? The principal animator for Mickey Mouse as the Sorcerer’s Apprentice was Fred Moore. He came up with the design used for Mickey, but there’s no way to know who did the drawing, because it’s so tight.

If the drawing was looser, we might be able to tell who drew it? If it was looser, we could tell by the animator’s style. But it’s not an animation drawing, it’s a model drawing. It’s final, and cleaned up.

How often do Disney model drawings come to auction? They’re not common. We do see them from time to time, but one of this quality is extremely rare.

This is faintly colored, not fully colored. Was that typical for model drawings at Disney in the 1940s? Pencil was used for the drawing, so they stayed with graphite and colored pencils. If it was a cell, it would be different, and if it was a painting, it would be different.

What estimate would you put on this? I think it’s going to go to $2,500 to $3,500. That’s what I see good Sorcerer’s Apprentice drawings going for.

What’s the provenance of this piece? It’s from the family of a former Disney employee.

The lot notes describe the model drawing as being in “very good condition.” What does that mean in this context, when we’re talking about a piece of functional art? It’s not folded. It’s not smudged. There are no tears, or holes in the paper.

What’s it like in person? I think it’s pretty amazing. It’s Mickey Mouse in his greatest role, and in an amazing pose. It’s kind of a trophy piece of Mickey Mouse art, and it’s done by hand.

What’s the record for a Disney model drawing? I wouldn’t do that for Disney model drawings, but I would do it for Disney Mickey Mouse drawings. The highest I know of for a Disney Mickey Mouse drawing is $14,400 for a Steamboat Willie drawing at Heritage Auctions in December 2018.

Ah, so this model drawing probably won’t get close to that. I think it will go for $2,500 to $3,500, and I wouldn’t be surprised if it hit $5,000.

Why will this piece stick in your memory? That image looks at me every day. I have a whole library of Disney books that I reference when I work on catalogs. I have one, The Art of Disney’s Fantasia, and that image is on the cover. It kind of threw me when I first saw the artwork–“Hey, wait a minute!” It pops up a lot. It’s a famous image. It’s pretty spectacular.

How to bid: The circa 1940s Disney model drawing of Mickey Mouse as the Sorcerer’s Apprentice is lot #96139 in the Animation Art auction taking place at Heritage Auctions on June 15 and 16, 2019.

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SOLD! A Civil War Battle Flag, Carried by African-American Union Troops and Painted by David Bustill Bowser, Sold for (Scroll Down to See)

A Civil War-era flag carried by the 127th Regiment of the United States Colored Troops and painted by African-American artist David Bustill Bowser. It shows a black Union soldier and Columbia, the female personification of America. She has pale skin and dark hair and she carries the American flag. The image is bordered by gold laurel leaves. Above it we see the motto that reads, "We Will Prove Ourselves Men". The blue cloth of the flag is ragged in places.

Update: The Civil War flag carried by the 127th Regiment of the USCT sold for $196,800.

What you see: The battle flag of the 127th Regiment of the USCT (United States Colored Troops), from Pennsylvania, which fought in the Civil War in 1864 and 1865. It was painted by African-American artist David Bustill Bowser.

The expert: Craig D. Womeldorf, chief executive officer, Morphy Auctions.

How rare are battle-used Civil War regiment flags of any kind? It’s such a wide range. There are battle flags from many regiments, Union and Confederate. They had to have flags in battle to identify the regiment. As you can imagine, they were used heavily. Some got lost and destroyed. They’re very rare.

How rare are United States Colored Troops (USCT) flags, and how rare are USCT flags made by an African-American artist? There were eleven African-American regiments raised in Pennsylvania, and there was one flag per regiment. Of the eleven, this is the only one left. Seven [of the other ten] are known from photographic images. USCT flags were not issued by state or federal governments. They were created by supporters. After the war, [military officials] didn’t need to send them back to government entities. They went back to the USCT. Several went to the archives at West Point in 1906, and they were removed and destroyed in 1942. This one happened to go back to the GAR [Grand Army of the Republic, an organization for Union veterans] and survived.

And it went back to the artist, David Bustill Bowser, after the war? It’s believed, but not confirmed, that Commander Louis Wagner of Camp William Penn transferred the flag to Bowser after the war. [Camp William Penn, in what is now LaMott, Pennsylvania, was the state’s training camp for African-American Civil War soldiers.] Bowser transferred it to GAR Post 2, which is where we got it.

And that GAR post collection, which morphed into the GAR Civil War Museum and Library, is deaccessing the flag? What is your definition of deaccessing?

A museum releasing objects from its inventory by selling them or giving them to another institution. Yes. They went through the first stage of restoring the flag. We took it to the next step. We took it to someone who specialized in antique flag restoration, preserving it for posterity forever.

How prolific was David Bustill Bowser? We think he was prolific in certain commercial categories, but his paintings and Civil War banners are rare and unique.

Do we know how Bowser was chosen for the Pennsylvania USCT flag commission? He was a prominent Philadelphia artist. We didn’t research how he was chosen, but we know there was opposition, and how it was pushed back. [From the lot notes: When opposition to the choice of Bowser as the artist to paint the flags developed within the Supervisory Committee of the camp, Bowser persuaded John Forney, a powerful Republican Philadelphia politician and newspaper owner, to argue that “he is a poor man, and certainly professes very remarkable talent. He has been active in the cause and is himself a colored man, and it seems to me there would be peculiar hardship in taking away this little job from him and giving it to a wealthy house.”]

Did Bowser fight in the Civil War? He did not.

Could you talk a bit about Bowser’s importance to African-American art history? He studied with the best artists of the era, and he inspired Henry Ossawa Tanner, one of the best African-American artists of the 19th century.

Could you discuss what the 127th Regiment did during the war? The lot notes say that it was “in battle once” at Deep Bottom, Virginia, a week before General Robert E. Lee surrendered, but the notes also say the regiment “saw action” at several points in 1864 and 1865. What does “saw action” mean here, and how is it distinct from formally being in battle? “Action” can mean additional activity in battle and campaign support. Most battles are a logistical supply chain issue. Bringing up food, water, rifles, and material is as critical to the battle as the actual battle.

How does this flag match the iconography of other Civil War battle flags, and how does it depart from it? UCST regimental flags generally had a similar motif, usually involving a soldier and Columbia [a female personification of America], but with different text. Each had its own motto. This one says “We Will Prove Ourselves Men.” It’s different from other [Union] regimental flags, which are variations on the American flag. You find variations, different orientations of the stars, the eagle, the stripes, the regimental number, but you don’t see pictorial representations.

Would the makers of USCT flags have had more freedom with their designs because they weren’t government-issued? I don’t know about regimental flag distribution, but they [the UCST regiments] were not considered regular troops. Maybe they had more latitude, maybe they didn’t, I don’t know.

And is the phrase “We Will Prove Ourselves Men” unique to this flag? It’s unique in the Pennsylvania group.

The flag depicts a black male soldier with a white woman, Columbia, who symbolizes America. Would this have been a controversial image in mid-1860s America? Clearly the flag depicts race consciousness, and we can imagine it would have had an element of controversy at the time, although we have no specific indications or stories associated with any controversy. Battle flags needed to be an identifiable for their purpose. If you’ve seen a Civil War reenactment or a movie, it’s smoky, it’s mayhem. A lot of regimental battle flags are similar and can be confused [in the heat of battle], but this would stand out. And it shows the pride of the unit–We Will Prove Ourselves Men. You don’t see that on other flags. We can imagine the uniquely-painted, colorful banner met it intentions well.

What condition is the flag in? Does it show signs of having been in battle? It shows signs of wear, for sure, because it was in pieces and had to be restored. It was probably worn from use in battle, and at the end of the war, [veterans from the regiment] took pieces as souvenirs.

I think I see a hole near the word “Men” in the motto, and I think I see paler blue spots at the lower left, which might be thin spots. Is that, in fact, what I see? If you blow up the image so that the word “Men” is in the middle of the screen, you’ll see fine mesh netting and lots and lots of tiny stitches that match the color of blue. [Click on the main shot of the lot and then click the area once or twice.] They were extremely meticulous about that. Those are original sections and restored sections attached to a support net, and that is attached to an acid-free cotton batting. And that is inside a UV-protected enclosure.

How did you arrive at an estimate for this, especially with it being the only survivor of the eleven Bowser Pennsylvania regimental flags, which has never gone to auction before? We got a team of experts together. We looked at other flags…

Did you look at other works by Bowser? There’s nothing like this that survives, so there’s nothing else to compare it to. In the last Edged Weapon, Armor, and Militaria sale, we had a North Carolina [Confederate] battle flag, a pretty basic flag, captured on the retreat from Gettysburg. It sold for $96,000. It was not as pictorial, with a different legacy, a different significance, a whole different genre of flag. We believe this, in many ways, is more significant and rare.

How many different audiences of collectors will fight for this flag? Military historians, art historians, African-American, Civil War, Grand Army of the Republic enthusiasts–a pretty wide group. We hope it will generate a lot of interest.

What is the flag like in person? I’m kind of a Civil War buff. I look at it, and to me, it’s suspended in time because it’s preserved so well. If you’ve been to Gettysburg or the museums in Virginia, you get a weighty feeling. Emotionally, it’s intense, but somber at the same time, because you know what these people dealt with.

What’s the auction record for a UCST flag, and for any Civil War battle flag? I don’t know about UCST. I looked, but couldn’t find any. The most expensive flag I could find was Confederate general JEB Stuart’s personal battle flag. It sold for $956,000 in December 2006. But I think this has the opportunity to be more important than that. It’s got a different combination of factors. I don’t know where it’s going to go. I think it’s worth at least the estimate.

Why will this flag stick in your memory? It connects to so many elements of the Civil War and American history. It’s astounding and unique. I haven’t seen or heard of anything like it. People say something is unique–this is the definition of unique.

How to bid: The 127th Regiment USCT flag is lot 2161 in the Edged Weapon, Armor, and Militaria sale taking place June 12 and 13 at Morphy Auctions. It will come to the block on the second day of the sale.

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George Sosnak Dedicated a Baseball to Grantland Rice and the 1921 World Series. It Could Achieve $7,000 at SCP Auctions

A baseball transformed by self-taught artist George Sosnak. This angle showcases the words "First World Series Aircaster Writer Grantland Rice."

What you see: A baseball transformed by the late self-taught artist George Sosnak. SCP Auctions estimates it at $5,000 to $7,000.

The expert: Dan Imler, vice president of SCP Auctions.

How prolific was George Sosnak? Has anyone done a count or a census of how many balls he decorated? I’ve read in the past that he completed roughly 800 to 1,000 baseballs, but he started roughly 3,000. And he was definitely prolific in the sense of his following and his admirers. His baseballs have been exhibited in many museums, including folk art museums.

He was born in 1922 and died in 1992. Do we know how long he was active as an artist? I definitely think he was most prolific in the 60s and the 70s. In fact he donated some of his work to Cooperstown [The National Baseball Hall of Fame in Cooperstown, New York] in the early 70s.

What do we know about his creative process? How did he choose his subjects, and how did he create these baseballs? He was definitely focused on notable figures and milestones. He was not confined to players, as you can see by the Grantland Rice baseball we have. He celebrated figures from all facets of the game. In most cases, he started with an autographed ball and built around that–stats, historic data, combined with colorful scenes.

Did Grantland Rice autograph it? That’s not the case with this ball, but many Sosnaks I’ve seen have autographs on them.

If a George Sosnak baseball has an autograph, how does that factor in to its value to collectors? I think most people collect Sosnak balls for the artistry. That’s where the value is. If the autograph was Babe Ruth or Ty Cobb, it might be more valuable, but it’s looked at for its artistic value more than anything else.

Do we have an idea of how long it would take Sosnak to complete a baseball, and how long it might have taken him to finish this one? We can only make an assumption by looking at the detail of his work, the thoroughness of it. If you look at the Grantland Rice ball, every centimeter of the ball’s surface is covered and well thought out and almost tells a story. I imagine it took many hours of work to produce the typical Sosnak ball.

A baseball transformed by self-taught artist George Sosnak. This angle shows how Sosnak crammed a recap of the 1921 World Series within the borders of this seam of the ball.

Do we know what media George Sosnak used to produce this–markers? Paint? From what I’ve read, the media was India ink.

Do we know why he chose Grantland Rice to showcase on this ball? Sosnak was an aficionado of baseball and all baseball facts. He himself was a minor league umpire. He had a lot of experience in the game, and a lot of passion for it. What inspired this ball is appreciation for the great historical figures of the game. Grantland Rice was as prolific as it gets in his field.

Did Grantland Rice commission this ball, or ever see it? We don’t know that, but Sosnak was known to give balls to subjects as gifts. We’ve done a lot of athletes’ estate sales, and we see Sosnak balls received as gifts.

A baseball transformed by self-taught artist George Sosnak. This angle showcases his portrait of Grantland Rice broadcasting the 1921 World Series over the telephone system.

How might the fact that Grantland Rice appears on this ball affect its value to collectors? Or does the … decorative intensity matter more? All the factors combine to contribute to the value–subject matter, graphic quality. This one in particular has a dual subject, a dual purpose. It acknowledges Grantland Rice and also memorializes the 1921 World Series.

Forgive me as I don’t know off the top of my head, but why was the 1921 World Series significant? The 1921 World Series might be acknowledged as the first broadcast World Series.

Is that why George Sosnak uses the word “Aircaster”–a word I’ve never encountered before? I think it’s a primitive term for “broadcaster”. Grantland Rice telephoned the play-by-play. It was a very primitive broadcast via telephone over four New England radio stations. That ground-breaking aspect is being celebrated on this ball.

Is there a date on this George Sosnak baseball? Do we know when Sosnak made this? There’s no date. The only thing we have to go by is a very faint Rawlings stamp on the baseball. It looks like it was probably late 1970s, based on the type of ball it’s on.

What details do Sosnak collectors want in a baseball, and does this one have them? First, I would say great imagery. One panel has a wonderful image of Grantland Rice broadcasting, and you have the Yankees logo and the Giants logo, the two World Series combatants. It has great titling, and a complete, complete play-by-play of the game. It’s just covered. The decorative quality and historical content is just fabulous.

A baseball transformed by self-taught artist George Sosnak. This angle showcases how tightly Sosnak crammed the ball's surface with information about how the 1921 World Series played out.

Where does this George Sosnak baseball rank on the scale of information-density? It’s on the higher end of the scale, I would say. But there are many like it.

And collectors prefer George Sosnak baseballs that are thoroughly jammed with text? Absolutely. The greater sampling of his work, the better.

Do we know about the provenance of this George Sosnak baseball? We really don’t. There’s no long chain of custody here prior to our consigner. He’s had it for many years and we can’t trace it beyond that.

What condition is it in? This one is in relatively high grade for a Sosnak ball. They are susceptible to wear and chipping. This one shows very little of that. He’d typically put a coat of shellac over the ball to protect the ink.

That has to be a problem with George Sosnak baseballs–you want to pick them up and turn them over, to see everything on them. Yeah, there’s something to see on all sides. If you want to fully digest it, there’s a lot of reading to be done.

Another angle on the baseball transformed by self-taught artist George Sosnak, showing statistics and facts about the 1921 World Series between the Yankees and the Giants.

How many George Sosnak baseballs have you handled? How often do they tend to come up? We’ve had probably a dozen in our history. In various auctions, half a dozen to a dozen per year come up. They’re very collectible, and there’s not a lot of turnover. When collectors acquire them, they tend to hang onto them for a while.

Have you handled it? What’s it like in person? I have. It’s stunning, it’s gorgeous. The colors are very, very vibrant. They don’t seem to have faded or changed much since it was created. He used high-quality materials and on top of that, it’s very well-preserved.

What’s the world auction record for a Sosnak? The highest price I could find is $15,500, a Stan Musial, part of his personal collection, sold in 2013.

Why will this George Sosnak baseball stick in your memory? Sostak balls are all unique. Every time you see one, you have to be in awe. It will stick in my mind because I got a history lesson about Grantland Rice and the 1921 broadcast. I not only appreciate the artistry of the ball, I got an education as well.

How to bid: The George Sostak Grantland Rice baseball is lot 10 in SCP Auctions‘s current sale, which opened June 5 and closes on June 22.

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WHOA! Edgar Allan Poe’s Pocket Watch Sold for (Scroll Down to See)

Edgar Allan Poe's 18-karat gold pocket watch, open to show that it has been engraved with his name.

Update: Edgar Allan Poe’s pocket watch sold for $250,000–more than double its high estimate.

What you see: An 18-karat gold French quarter-repeating pocket watch that once belonged to Edgar Allan Poe. Christie’s estimates it at $80,000 to $120,000.

The expert: Heather Weintraub, associate specialist in books, manuscripts, and archives at Christie’s New York.

Could you talk a bit about what a gold pocket watch represented in 1840s America? According to the lot notes, Poe probably bought this watch when he was earning $800 per year, and he likely spent between $120 to $150 if he bought it new. What did a watch like this say about its owner? In Philadelphia at this time, you would have seen a good selection of European watches. This would have been a nice watch, a nice middle-class watch. It wouldn’t have been expensive, but it also wasn’t cheap. It was a quarter-repeater, which means it chimed every 15 minutes. The most expensive watch at the time was a minute repeater. It would retail for $120 to $150, but he could have bought it secondhand for $100 or less. He also could have received it as a gift at some point. What makes it so interesting is we have nailed down what we can, but there’s a little bit of intrigue. We don’t have all the exact details. We researched it and pinned down what we could. One really nice detail is it has signs of wear, as if it was worn considerably. I love that. I think of Poe wearing the watch during the time he had it.

Poe had the watch engraved with his name. Was that a common practice at the time? Engraving was very common. Engraving shops would have been readily available. It was partly done to [deter] theft. Having it engraved would have cost less than a dollar.

Is this pocket watch valuable without the Poe provenance? We worked closely with the watch department to catalog this. On its own, it would be in the low thousands, we were told. The value for us is really in the wonderful provenance.

Do we know how long Poe owned it? Poe had a brief window of prosperity in the early 1840s. It seems a likely time for him to have acquired this. He filed for bankruptcy in 1842. Adding that to what we learned from an 1880 newspaper article [titled The Gold Watch of Edgar A. Poe], which says J.W. Albright acquired it between 1841 and 1842, that creates a pretty narrow window.

Poe published The Tell-Tale Heart in 1843, which likens the thumping of the tell-tale heart to “much such a sound as a watch makes when enveloped in cotton”. Is there any chance this pocket watch was available to him while he wrote the story? He first submitted The Tell-Tale Heart to the Boston Miscellany in 1842. It’s not impossible there might have been overlap.

Front view of Edgar Allan Poe's 18-karat gold pocket watch, showcasing its handsome dial.

Does it work? It does not work, but our watch expert says it can be repaired.

Does the watch expert advise repairing it? It depends on the person who buys it. It’s up to the buyer if they’d like to repair it.

What is the pocket watch like in person? Have you held it? I have held it. It has a nice weight to it. It’s wonderful to be able to hold something from the 1840s that Poe may have held. It’s one of the reasons to love this job.

How did you arrive at the estimate of $80,000 to $120,000? Coming up with an auction estimate is definitely more of an art than a science. One [result] we looked at was a 2016 sale of Albert Einstein’s pocket watch, which fetched £266,500 [roughly $337,000] at Christie’s London.

Why Einstein? Why is he a good analog in this context? Poe and he are both well-known people who are associated with time…? We considered a number of things. This was just one of them. In the most obvious sense, it was another pocket watch owned by a well-known individual.

How rarely do objects owned by Edgar Allan Poe come up at auction? Objects related to Poe are rare. The only other thing we’re aware of is an engagement ring that was also engraved, which came up in 2012. [It was part of a group of Poe material sold at Profiles in History in December of that year.] Also in the June 12 auction is a signed autograph letter from Poe. Ten autograph Poe letters have appeared over the last 20 years–they’re scarce.

What’s the world auction record for Poe? I suspect it’s a rare book… I believe it’s a first edition copy of his first book, Tamerlane and Other Poems, which sold at Christie’s New York in December 2009 for $662,500.

Looking at the lot notes, I see several private sales in the pocket watch’s past, but no auctions. Is this the first time it’s been consigned? Correct, yes. It’s changed hands over the years, but this is the first time it’s been to auction.

Why will this piece stick in your memory? It’s not every day you get to hold Edgar Allan Poe’s pocket watch in your hands. Working with items such as this–six months ago, I didn’t know it existed–it’s one of the joys of working at auction. It’s a wonderful piece. We’re so excited to have it in the sale.

How to bid: Edgar Allan Poe’s pocket watch is lot 209 in the Fine Printed Books & Manuscripts Including Americana auction taking place at Christie’s New York on June 12, 2019.

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Image is courtesy of Christie’s.

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Will the Mirror of Paradise Golconda Diamond Sell for $10 Million?

The Mirror of Paradise 52.58-carat Golconda diamond, shown in full on a black background. Part of the ring setting is visible on either side of the stone.

What you see: The Mirror of Paradise, a 52.58-carat Golconda diamond set in a ring. Christie’s estimates it at $7 million to $10 million.

The expert: Daphne Lingon, head of jewelry for Christie’s Americas.

First, could you explain what Golconda is–is it a city? A region? A mine? It’s a district. You could say, in more general terms, it’s an area. It’s near Hyderabad, in south India. Of areas that produce diamonds, it is by far the most famous.

Has anyone done a survey or a census of known Golconda diamonds? I imagine that would be difficult, given that people cut and reshape diamonds… Mining began in 400 B.C.E., and went on for 2,000 years. It’s impossible to know the number of stones, and they can be cut and refashioned. There’s no way to track it.

When did Golconda stop yielding diamonds? About 1725.

What is it about Golconda diamonds that give them their famous limpid quality? Has anyone studied the geography or the chemistry? It’s because of the lack of nitrogen in them. It gives them a unique purity. Nitrogren impedes the transmission of light. Their lack of nitrogen allows them to transmit light in an unimpeded way.

The Mirror of Paradise 52.58-carat Golconda diamond, shown in three-quarter view on a black background. It is in a ring setting.

What do we know about the provenance of the Mirror of Paradise? Do we know when it came out of the ground, and how big the rough stone was? No, but we can assume, given that it’s 52 carats, the rough was over 100 carats. But there’s no way for us to know.

The Mirror of Paradise has a rectangular cut. Is it possible to know if that is its original cut? Also, how does the rectangular cut enhance the stone? The rough would have dictated what shape it is. You can find Golcondas in all shapes. The cut of the Mirror of Paradise is so spectacular. It gives it a brilliance you don’t often find in an emerald cut.

Do we know when and how it was placed in a ring, and do we know who designed the ring? We don’t know, unfortunately. It’s how it came to us from the client.

The Mirror of Paradise 52.58-carat Golconda diamond, shot from the side on a black background and angled to display its ring setting.

Christie’s New York sold the Mirror of Paradise two times previously, in 1988 and 2013. Was it in the ring setting for both sales? It was in the same mounting the last two times it was sold at Christie’s.

When was the last time a Golconda weighing 50-plus carats came to auction? We sold the 76.02-carat Archduke Joseph diamond in November 2012 in Geneva for CHF 20,355,000 [About $21.4 million. The sale also represents a world auction record for a colorless Golconda diamond.]

So, six years ago. Is it fair to say that Golcondas of 50 carats or more tend to pop up every six to ten years? You never know when they’re going to come up, but I would say that.

How does the market for Golconda diamonds compare to the market for white diamonds generally? This is a very specific subset of a larger market. It’s always highly sought-after by collectors and connoisseurs who are looking for unique and special stones. Certainly among clients there is a premium, and a general interest.

How did the Mirror of Paradise perform when it sold at Christie’s New York in 1988 and 2013, and what does that say about the market? In 1988, it sold for $7.48 million. In 2013, it sold for $10.9 million. The sales show a steady increase for Golcondas.


The Mirror of Paradise 52.58-carat Golconda diamond, shot on a black ground, head on, to showcase the rectangular cut of the stone.

Have you worn the ring? Yes.

What was that like? [Laughs] It was a bit breathtaking to try it on. It’s an exceptional stone. One of the perks, or requirements, of the job is actually trying jewelry on, because a lot of clients aren’t able to see it in person. Being able to handle and interact with the pieces gives a better sense of what they’re like. They’re not just objects–they’re worn.

How does the Mirror of Paradise compare to other Golcondas in the same sale? We don’t have anything else quite like this [in the auction]. It’s so incredible–the breadth of what’s offered in the collection spans 500 years. I think this stone certainly stands on its own.

What is it like in person? We have photographers that are trained only in jewelry photography, but seeing it in person is different. A camera never fully captures the essence of a stone–the size, the luster, the luminosity–you need to see it in person to fully grasp the presence of it.

How to bid: The Mirror of Paradise is lot 229 in the Maharajas & Mughal Magnificence auction at Christie’s New York on June 19, 2019.

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SOLD! Ben Austrian’s White Hen with Chickens Flew Away With (Scroll Down to See)

Ben Austrian's "White Hen with Chickens" shows a mother hen at left, with 13 yellow chicks clustering near her on a bed of straw. One of the chicks perches on her back.

Update: Ben Austrian’s White Hen with Chickens sold for $6,875.

What you see: White Hen with Chickens, painted in 1913 by American artist Ben Austrian. Freeman’s estimates it at $7,000 to $10,000.

The expert: Raphaël Chatroux, associate specialist in the fine art department at Freeman’s.

Who was Ben Austrian? What do we know about him and his work? He’s a local boy, born and raised in Reading, Pennsylvania. He had a lonely childhood, and he was sick very often. The air in Reading was quite polluted, so he had to spend his summers outside the city at a relative’s farm. He called it his vacation home. He went there for many years, from his early childhood until his mid-teens.

And he was self-taught, yes? Yes. Not by choice, but by necessity. Austrian’s family was very poor, and they didn’t have the means to send him to art school. At the age of five, his parents gave him a box of watercolors. During the summer, he was by himself and experimented with it. At an early age, he knew he wanted to become an artist. His mom was supportive, but his dad was wary. It was hard for a local artist to break through. He wanted him to work in the family business, which started as a dry-goods shop and evolved into a steam laundry. Austrian always painted on the side.

How did his career evolve? The first phase is from his early years until his father dies when Austrian is 27. He did have a few successes. He was very persistent in trying to show his art, though he wasn’t able to devote himself to it full time. His dad dying was a wake-up call to sell the family business and devote himself to art.

Did he paint hens and chicks exclusively? No, but it’s what he started painting in the very beginning–he painted what he knew. The first things he painted were chickens and landscapes. He painted other animals, such as ducks and horses, and at one point, his cat paintings were as popular as his chicken paintings. As he aged, he turned solely to landscapes.

And when he was a kid on the farm in the summer, he would feed the chickens? Exactly. He grew up surrounded by them. In a letter, he said, “I paint chickens because I love them.”

Was Austrian prolific? Do we have a count of how many works he made? There’s no catalogue raisonné. It’s hard to estimate the number of paintings he did, but he was prolific. It’s in the thousands. It’s difficult, too [to get a more precise count], because he wasn’t so good at keeping track of all of them, especially the early ones. A lot of the paintings are very similar, with similar names, like Mother Hen and Chicks. It’s tough to establish a chronology and an exhaustive summary of what he did. In the 1900s, he started putting dates on paintings.

Was he well-known in his time, or did his reputation grow later? He was well-known while he was alive. He was considered a Reading celebrity and he was smart about it–he was able to create a business out of it. When he worked for his dad, he knew to paint an original before meeting one of his dad’s clients. He was very strong-headed, and he did everything possible to break through. His partnership with the Bon Ami Company helped a lot. It assured his legacy, and it’s part of why he’s famous today. They made reproductions [of his works] that people could have on their fridge or in their wallet.

In reading about Austrian, I came across a claim that he taught his chickens to pose for him. Is that true? It seems crazy, but it’s true. You can find a lot of pictures of Austrian in his studio, surrounded by hens and chicks. He loved them. He talked to them every day, and he gave them names–some were elaborate. He raised them all on his own, so they only knew him. There was a special bond between the animals and Austrian. He had an incubator as well. [He did] whatever he needed to study their behavior and be as accurate as possible.

How did he teach chickens to pose for him? He always started by painting the hen first, and alone, because the chicks will always harass the mom. He’d put her in something like a nest, so she’d be quiet. With the chicks, the key to catching their attention was speaking to them–he could imitate their mom’s cackle. Or he’d use an object, like a piece of raw meat hanging from a stick. They’d gather round, infatuated with it, and that would give him a minute to catch the overall composition. Cigars would hypnotize them. They would freeze when they saw the light of a cigar. That would keep them quiet for a few moments.

In looking at the catalog for the sale, it’s clear that 100 years ago or so, there was a market for paintings of chicks and hens. I see several works by Austrian, and paintings of chicks by Mary Russell Smith and Arthur Fitzwilliam Tait. Who was the audience for these works when they were new? Who bought and collected them? I’ll start by saying Austrian was not the first one [to paint chicks and hens] and not the only one. He was late in the game. When Mary Russell Smith died, he was very much a kid. Because Austrian was self-taught, he didn’t copy from other artists, but it [scenes of chickens] was a popular genre of the time. There were lots of dealers who handled these paintings, and Austrian often chased private collectors himself. He sold a lot to department stores and jewelry stores, which saw art as a way to get people to feel comfortable and spend more money. Wanamaker’s [a Philadelphia department store] had a lot of Austrians, and John Wanamaker bought directly from him–he bought for himself and for his stores. It was a good source of income.

What detail of White Hen with Chickens do you like best, and how does it speak to Austrian’s mastery? It’s quite a good painting because you have a lot of chicks, which is what matters, and an imposing motherly figure that anchors it all. What I like is the composition itself. I like the contrast between the quiet mom and the undisciplined children. They’re running around, some are on her back, and some are about out of the picture frame, but mom doesn’t move. She’s self-composed. That’s what I like, the organized chaos in the painting.

Have Austrian’s paintings always been collected, or was there a fall-off after his death? I think he’s always been steadily collected. There was never really a fall-off.

How often do Austrians come to market? And is it unusual to have this many in a single sale? What’s unusual here is the collection provenance. They’re from the Bon Ami Company itself, which helped shape his legacy and his image. It’s never sold works by Austrian before. It’s an event for them to come up for sale. Bon Ami is a golden provenance for a Ben Austrian painting.

Why are they selling the paintings now? They’re reshaping their collection and taking a more curated approach. They’re not trying to get every painting linked to Ben Austrian. And it’s a good way to raise brand awareness of the company, through Ben Austrian.

So this is the first time the Bon Ami Corporation has sold any of its Austrians? They’re fresh to market.

And that’s why you’re comfortable selling several in the same auction–because of the Bon Ami provenance? Exactly. The Bon Ami name helps because it ties the collection together.

White Hen with Chickens measures 20 inches by 26 inches. Is that an unusual size for Austrian? I wouldn’t say it’s typical, but it’s on a larger scale. It’s the largest devoted to chickens. At 20 inches by 26 inches, the birds are pretty much life size, which was something Austrian was well aware of. When hens are in the paintings, the paintings tend to be larger. When it’s just chicks, they tend to be smaller. It has to do with the emotions you’re supposed to feel. A small work with two chicks fighting over a bug is cute, and you can hold it in your hand. A hen is more serious. It has to be bigger, and it has to hang on the wall. He was very well aware of those visual tricks.

What’s the world auction record for a Ben Austrian painting? It’s a painting of a dog and a cat–no chickens–that sold at Pook & Pook in 2011 for $80,000. I dug a bit deeper and found the fourth-highest auction record is very similar to the White Hen with Chickens painting. It sold in 2004 for $40,000.

What is White Hen with Chickens like in person? What’s very nice about the painting is on one hand, you have a subject that’s very whimsical and cute–the children are agitated and the mom is quiet. It’s not a hen with chicks, it’s a mother and her children. That’s why you like it–he’s able to put humanity into the painting without being versed in sentimentalism. He’s very naturalistic in style, but he’s able to give some warmth to it, so it’s not kitsch. And if you look up close, the technique is perfect. The colors are not at all muddy or dark. They’re very pure, very bright, even though [the scene] takes place in a barn. For the chicks, he wanted something light and fuzzy, so he drew an outline and created a soft, sfumato-like blur, which gave that effect. You think it’s whimsical, but you can see the skills there. His technique is spot-on, and he learned it by himself.

How to bid: White Hen with Chickens is lot 48 in the American Art & Pennsylvania Impressionists auction at Freeman’s on June 9, 2019.

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Original Disney Mickey Mouse Art Doesn’t Get Better Than This! Heritage Might Sell a Fantasia Sorcerer’s Apprentice Model Drawing for $3,500

A model drawing of Mickey Mouse, dressed in his Sorcerer's Apprentice costume of red robes that tie at the waist and a blue wizard's hat. He is in the classic Sorcerer's apprentice pose, with an arc of yellow light springing from his left hand and hovering over his right index finger. The drawing is rendered in colored pencil.

What you see: A Disney “model drawing” of Mickey Mouse as the Sorcerer’s Apprentice from Fantasia. It dates to the 1940s. Heritage Auctions expects it to sell for $2,500 to $3,500.

The expert: Jim Lentz, director of animation art for Heritage Auctions.

So, what makes this the “Holy Grail of Mickey Mouse art”? Mickey Mouse was changed in 1939 by Fred Moore to have pupils. The Sorcerer’s Apprentice was originally going to be a short, but they needed box office power for the art film, so they put it into Fantasia. When you rank Mickey Mouse’s greatest hits, the Sorcerer’s Apprentice is considered his number one all-time appearance. It’s the Fred Moore design, the first time Mickey Mouse has pupils, Fantasia, and Mickey Mouse’s signature role of all time.

Did Fred Moore make other notable changes to the design of Mickey Mouse? The ears changed a little bit, and the face is fuller. But the introduction of pupils was a big thing.

This is a model drawing. What are model drawings, and how did Disney use them? A model drawing is used for reference, for publicity, for books, and for posters. It didn’t go under the [animation] camera. It’s always perfect, and it’s used for reference on how something is to be drawn. It’s a high-quality piece of artwork.

This one is identified as MD-28. Does that imply that Disney did at least 27 other model drawings for Fantasia? No, it’s just an inventory number for the studio.

Are there other Mickey Mouse Fantasia model drawings? There’s never just one, but it’s the only one of the quintessential [Mickey Mouse Fantasia] pose seen everywhere that’s come to market. I’ve been doing this [animation art] for 40 years and I’ve never seen it. I’ve seen it on the covers of books and press kits. It’s a famous pose.

Is it at all possible to know who at Disney would have done this model drawing? No, it’s not known. You have to remember that the animators weren’t paid to be artists. They were making films. The artist was always Walt Disney Studios. At that time, the head of art for Disney Publicity was Hank Porter, but we can’t say it’s Hank Porter. There’s no way to know it’s him.

Was there someone, or some type of animator at Disney to whom the task of model drawing typically fell? The principal animator for Mickey Mouse as the Sorcerer’s Apprentice was Fred Moore. He came up with the design used for Mickey, but there’s no way to know who did the drawing, because it’s so tight.

If the drawing was looser, we might be able to tell who drew it? If it was looser, we could tell by the animator’s style. But it’s not an animation drawing, it’s a model drawing. It’s final, and cleaned up.

How often do Disney model drawings come to auction? They’re not common. We do see them from time to time, but one of this quality is extremely rare.

This is faintly colored, not fully colored. Was that typical for model drawings at Disney in the 1940s? Pencil was used for the drawing, so they stayed with graphite and colored pencils. If it was a cell, it would be different, and if it was a painting, it would be different.

What estimate would you put on this? I think it’s going to go to $2,500 to $3,500. That’s what I see good Sorcerer’s Apprentice drawings going for.

What’s the provenance of this piece? It’s from the family of a former Disney employee.

The lot notes describe the model drawing as being in “very good condition.” What does that mean in this context, when we’re talking about a piece of functional art? It’s not folded. It’s not smudged. There are no tears, or holes in the paper.

What’s it like in person? I think it’s pretty amazing. It’s Mickey Mouse in his greatest role, and in an amazing pose. It’s kind of a trophy piece of Mickey Mouse art, and it’s done by hand.

What’s the record for a Disney model drawing? I wouldn’t do that for Disney model drawings, but I would do it for Disney Mickey Mouse drawings. The highest I know of for a Disney Mickey Mouse drawing is $14,400 for a Steamboat Willie drawing at Heritage Auctions in December 2018.

Ah, so this model drawing probably won’t get close to that. I think it will go for $2,500 to $3,500, and I wouldn’t be surprised if it hit $5,000.

Why will this piece stick in your memory? That image looks at me every day. I have a whole library of Disney books that I reference when I work on catalogs. I have one, The Art of Disney’s Fantasia, and that image is on the cover. It kind of threw me when I first saw the artwork–“Hey, wait a minute!” It pops up a lot. It’s a famous image. It’s pretty spectacular.

How to bid: The circa 1940s Disney model drawing of Mickey Mouse as the Sorcerer’s Apprentice is lot #96139 in the Animation Art auction taking place at Heritage Auctions on June 15 and 16, 2019.

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Edgar Allan Poe’s Pocket Watch Could Sell for $120,000

Edgar Allan Poe's 18-karat gold pocket watch, open to show that it has been engraved with his name.

What you see: An 18-karat gold French quarter-repeating pocket watch that once belonged to Edgar Allan Poe. Christie’s estimates it at $80,000 to $120,000.

The expert: Heather Weintraub, associate specialist in books, manuscripts, and archives at Christie’s New York.

Could you talk a bit about what a gold pocket watch represented in 1840s America? According to the lot notes, Poe probably bought this watch when he was earning $800 per year, and he likely spent between $120 to $150 if he bought it new. What did a watch like this say about its owner? In Philadelphia at this time, you would have seen a good selection of European watches. This would have been a nice watch, a nice middle-class watch. It wouldn’t have been expensive, but it also wasn’t cheap. It was a quarter-repeater, which means it chimed every 15 minutes. The most expensive watch at the time was a minute repeater. It would retail for $120 to $150, but he could have bought it secondhand for $100 or less. He also could have received it as a gift at some point. What makes it so interesting is we have nailed down what we can, but there’s a little bit of intrigue. We don’t have all the exact details. We researched it and pinned down what we could. One really nice detail is it has signs of wear, as if it was worn considerably. I love that. I think of Poe wearing the watch during the time he had it.

Poe had the watch engraved with his name. Was that a common practice at the time? Engraving was very common. Engraving shops would have been readily available. It was partly done to [deter] theft. Having it engraved would have cost less than a dollar.

Is this pocket watch valuable without the Poe provenance? We worked closely with the watch department to catalog this. On its own, it would be in the low thousands, we were told. The value for us is really in the wonderful provenance.

Do we know how long Poe owned it? Poe had a brief window of prosperity in the early 1840s. It seems a likely time for him to have acquired this. He filed for bankruptcy in 1842. Adding that to what we learned from an 1880 newspaper article [titled The Gold Watch of Edgar A. Poe], which says J.W. Albright acquired it between 1841 and 1842, that creates a pretty narrow window.

Poe published The Tell-Tale Heart in 1843, which likens the thumping of the tell-tale heart to “much such a sound as a watch makes when enveloped in cotton”. Is there any chance this pocket watch was available to him while he wrote the story? He first submitted The Tell-Tale Heart to the Boston Miscellany in 1842. It’s not impossible there might have been overlap.

Front view of Edgar Allan Poe's 18-karat gold pocket watch, showcasing its handsome dial.

Does it work? It does not work, but our watch expert says it can be repaired.

Does the watch expert advise repairing it? It depends on the person who buys it. It’s up to the buyer if they’d like to repair it.

What is the pocket watch like in person? Have you held it? I have held it. It has a nice weight to it. It’s wonderful to be able to hold something from the 1840s that Poe may have held. It’s one of the reasons to love this job.

How did you arrive at the estimate of $80,000 to $120,000? Coming up with an auction estimate is definitely more of an art than a science. One [result] we looked at was a 2016 sale of Albert Einstein’s pocket watch, which fetched £266,500 [roughly $337,000] at Christie’s London.

Why Einstein? Why is he a good analog in this context? Poe and he are both well-known people who are associated with time…? We considered a number of things. This was just one of them. In the most obvious sense, it was another pocket watch owned by a well-known individual.

How rarely do objects owned by Edgar Allan Poe come up at auction? Objects related to Poe are rare. The only other thing we’re aware of is an engagement ring that was also engraved, which came up in 2012. [It was part of a group of Poe material sold at Profiles in History in December of that year.] Also in the June 12 auction is a signed autograph letter from Poe. Ten autograph Poe letters have appeared over the last 20 years–they’re scarce.

What’s the world auction record for Poe? I suspect it’s a rare book… I believe it’s a first edition copy of his first book, Tamerlane and Other Poems, which sold at Christie’s New York in December 2009 for $662,500.

Looking at the lot notes, I see several private sales in the pocket watch’s past, but no auctions. Is this the first time it’s been consigned? Correct, yes. It’s changed hands over the years, but this is the first time it’s been to auction.

Why will this piece stick in your memory? It’s not every day you get to hold Edgar Allan Poe’s pocket watch in your hands. Working with items such as this–six months ago, I didn’t know it existed–it’s one of the joys of working at auction. It’s a wonderful piece. We’re so excited to have it in the sale.

How to bid: Edgar Allan Poe’s pocket watch is lot 209 in the Fine Printed Books & Manuscripts Including Americana auction taking place at Christie’s New York on June 12, 2019.

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Image is courtesy of Christie’s.

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SOLD! Edward Gorey’s Cat Fancy Cover Illustration Sold For (Scroll Down to See)

A New Yorker cover by the late Edward Gorey. It depicts two tuxedo cats looking at each other on an oversize bed, fitted with ruffles, shams, and pillows festooned with intricate yellow flowers.

Update: The Edward Gorey Cat Fancy cover illustration for The New Yorker sold for $16,250.

What you see: Cat Fancy, a cover illustration created for The New Yorker magazine by the late Edward Gorey. Swann Auction Galleries estimates it at $10,000 to $15,000.

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

Do we know why Gorey only did two covers for The New Yorker, and why the commissions came so late in his life? He seems like a good fit for a cover illustrator for that magazine. Was he considered too well-known to commission? Gorey’s relationship with The New Yorker was a long and curious one. His first real review and introduction to the wider public, and certainly the New York cultural elite, appeared in the magazine’s pages in its December 26, 1959 issue. The great literary critic, Edmund Wilson, an admirer of Gorey’s work, wrote an appreciation titled The Albums of Edward Gorey. His relative obscurity, he felt, was due to his working mainly to amuse himself. In 1950, around the time of his first commissions, when he was drawing for the Harvard Advocate and smaller humor magazines, Gorey actually submitted his work to The New Yorker. Then-Cartoon Editor Frank Modell rejected it, suggesting that “less eccentric drawings might draw a more enthusiastic audience.” It would take 43 years before the sensibilities and ironic humor of the magazine, under Tina Brown’s editorship, finally embraces his irreverent, camp-goth style.

How did the magazine use the artwork commissioned from Gorey under Tina Brown’s editorship? Lot 188 is among the three pieces he submitted in 1993. Instead of being used as a cover, it was used as a memorial postscript in The New Yorker when he died in 2000.

Why was this Gorey illustration, Cat Fancy, not used by The New Yorker until 2018? Art editor Françoise Mouly explained in her Cover Story that The New Yorker’s editor, David Remnick, asked if they had any unpublished work by Gorey in their archives to accompany an appreciation of him by Joan Acocella for their December 10th issue. Mouly was delighted to find a file of this original artwork and used it on the cover. The original artworks were sent back to Gorey’s agent, John Locke, after they had been digitized.

Do we know why The New Yorker didn’t use it back when they commissioned it, in the early 1990s? There’s no indications about why they didn’t use it, but in general, The New Yorker doesn’t like to use the same illustrator in a calendar year. They did one in December 1992, the first time Edward Gorey was on the cover, of a fantastic image of a denuded, stick-like Christmas tree with a family enthusiastically wrapping it with holiday-themed wallpaper. Maybe other covers came in, and it sunk to the bottom of the pile.

How often do Edward Gorey originals come up at auction? Pieces do come up a few times a year. We’ve handled upwards of 60 originals.

So, they’re out there, but at any given time, what’s out there might not be the Goreys you’d want most. That’s true, and Gorey appeals to people in different ways. Some like his Goth style. They want Dracula, and they want anything related to his Mystery! drawings for PBS. Those two works tend to set the highest prices.

You’ve got eight Goreys in the June 4 sale. Is that an unusually high number? We’ve had as many as 12 in a single sale. It varies. We’ve had sales with no Goreys, and sales with three to four. Three to four is more typical.

What’s the record for an original work by Gorey? In March 2017, we sold a piece I named Skeletons and Hiding Figures. We believed it’s an illustration for PBS’s Mystery! series, circa the 1980s. It’s not terribly large and it’s unsigned, but it’s clearly in Gorey’s hand and it contains all his types–obelisks, hiding figures, mustachioed men in a garden setting. It sold for $18,750.

Where are most of Gorey’s originals? Are they in a library or another institution? The majority of his pieces are owned by the Edward Gorey Charitable Trust. When Gorey died, anything in his possession became property of the trust. It has them at an off-site property and loans them to the Edward Gorey House in Yarmouth Port, Massachusetts.

Cat Fancy looks elaborate. Do we have any notion of how long it might have taken him to finish? His attention to detail is so strong, I imagine it took him several days. He drafted parts of it in pencil, then he went over it with ink, and then he colored it in with watercolors.

Could we talk about how this piece will appeal to Gorey collectors? What details does it have that Gorey collectors prize? First and foremost, its subject is cats. Gorey adopted several in his lifetime and thought of them as family, and as kindred spirits. They served as artistic inspiration, and sometimes he referred to them as people. His signature “Gorey Cat” pranced on the scene in 1972 with the publication of Amphigorey, his first anthology. Other works featuring cats include The Sopping Thursday, Category, Fletcher and Zenobia, T. S. Eliot’s Old Possum’s Book of Practical Cats, and his famous ballet cats. Their style changed throughout the years, but they remain among his most popular. Cat Fancy also reflects his love of Victorian and Edwardian interiors—the overstuffed fussiness and detailed fabrics. It shows his skill and love of line work, much of which was influenced by Japanese Ukiyo-e woodcuts, the Surrealists, and the ink work of English artists like Aubrey Beardsley and Edward Ardizzone. His favorite colors were lemon yellow, olive green, and lavender, and this piece contains them in varying hues. In short, it hits on all cylinders.

Are there aspects of the illustration that the camera doesn’t quite capture? When you get up close to the artwork, you can see the flowers contain little insects. Not all of them–here and there throughout the quilt. Gorey loved insects. He often worked insects into his artwork.

Are there other aspects the camera doesn’t pick up? It draws you in. The composition, while incredibly complicated and busy, but part of its enchantment is that you find yourself, like the cats, getting lost in that big, soft bed.

Why will this illustration stick in your memory? I had an inkling where the two New Yorker pieces were, and I am thrilled to be able to be able to shepherd them from one appreciative owner into the hands of new, excited collectors. And I’m a Gorey groupie. I’m a book person, I adore cats, and lounging places, and it has my favorite color, so you’re making me want to bid on it! [Laughs]. It’s a terrific piece.

How to bid: Edward Gorey’s Cat Fancy is lot 187 in the Illustration Art auction taking place at Swann Auction Galleries on June 4, 2019.

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Image is courtesy of Swann Auction Galleries.

Christine von der Linn has appeared before on The Hot Bid, speaking about a spellbinding 1938 Wanda Gág illustration for Snow White and the Seven Dwarfsan Arthur Rackham illustration of Danaë and the Infant Perseusa Rockwell Kent-illustrated edition of Moby Dick and original Erté artwork for a 1933 Harper’s Bazaar cover.

The Edward Gorey House has a website.

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A Steinlen Cat Poster with Two Progressive Prints Could Command $17,000

The completed version of the 1894 Théophile-Alexandre Steinlen poster, advertising his first gallery show. It features a calico cat and a black cat, both seated.

What you see: An 1894 poster by Théophile-Alexandre Steinlen, advertising a show of his work at the Bodiniére gallery. It also includes two progressive prints of the lithographic poster (scroll down to see them). Rennert’s Gallery estimates the group at $14,000 to $17,000.

The expert: Jack Rennert of Rennert’s Gallery.

I realize to some extent that all posters are advertisements for an artist’s skills, but how unusual is it to see a poster as literal as this one, which advertises Steinlen’s first gallery show in Paris? He did this for an exhibition at Bodiniére. It’s not a reproduction of a poster or a painting [in the show]. It’s an actual design, integrated with text, and he designed the text. It’s completely his poster.

What does it say about him that when choosing the image for this poster–which is intended to lure people to the gallery to buy his artworks–he chose to depict cats? Cats are one of his most iconic and popular images. He loved cats, and had a house full of them. People say you could tell where he lived within five blocks of his house.

The lot notes describe the pair shown on the poster as “his cats.” Might we know which of his cats modeled for this? Did they have names? Or were these imaginary cats? He had dozens of stray cats that he brought into his home in Paris. He didn’t need to imagine them. He had his models right there in his home. Lot 450, the following lot, is maybe his most famous poster of all, and it has his daughter, Colette, and three cats. It was for sterilized milk. She’s testing it before she gives it to them. Of the three cats, the two at the front could be the same two in the Bodiniére exhibit poster. He did them two years apart.

Are the cats in the Bodiniére exhibition poster shown at around life size? The poster is 32 inches wide by 23 inches high, so yeah, pretty much life size. They take up half the entire image of the poster.

The poster is horizontal. Is that unusual for this era? Yes. Ninety percent of the posters of the 1890s were vertical posters, meant to go on vertical spaces, like hoardings. It could have been that this Bodiniére exhibit poster was never meant to be an outdoor advertisement. It could have been in store windows.

Do I sense Japanese influence here? It kind of reminds me of Japanese woodcuts. Japanese art was very popular and influential with many artists in the 1890s, especially in Paris. You can see some of that in the treatment here, especially in the coloring of the cats. But I wouldn’t put too much stock in that. This is Steinlen and his way of drawing.

Do we have any notion of how many of these posters were printed, and how many survive? We don’t know, and I’ve spent a lifetime trying to find out. I would guess that since it was a one-time exhibit, for one month, in one place and one city, I don’t think he would have had more than 200 or 300 copies made. There was no need for more.

This example of the poster comes with two progressive prints of the design, which show lithographic color passes. How do the prints give insight into how the poster was made? It’s stone lithography, so first, they’d do just the gray area, then overprint it with black in a few areas, giving it a solid, deep black look. The third color plate is red, which gives a nice color to the cat and the lettering. It’s unusual to show the final product and how it was arrived at.

A progressive print of the 1894 Théophile-Alexandre Steinlen poster, advertising his first gallery show. It focuses on the gray areas of the image.

Do we have any idea how this example of the poster survived with two related progressive prints? I’d say it’s more likely that it came from the archive of Charles Verneau, his favorite printer. There’s no reason for someone outside of a printing plant to have them. Every now and then you do see progressive prints for a poster, and inevitably, they come from printers’ storage. They’re rare.

How many times have you handled the Steinlen Bodiniére Exposition poster? Over the last 50 years, I’ve handled it ten to 12 times.

And how rare is it to see any poster with progressive prints, never mind a poster as iconic as this Steinlen? It’s extremely rare. Only real passionate poster collectors care enough to even want it. There’s nothing pretty about them. They’re incomplete works. But they appreciate seeing what went into the final [lithographic] stone.

In your 50 years in the business, how often have you seen a poster with progressive prints come up? I’ve probably had a couple dozen instances of that. Once every two or three years, I get a series.

So the Steinlen plus progressive prints will be of more interest to a museum or an institution? Absolutely. I expect museums, galleries, and foundations to have a special interest in them.

How did the presence of the progressive prints affect the estimate? It obviously increases it, but not by a hell of a lot. The poster often sells for $10,000. I estimated this in the $14,000 to $17,000 range because of the prints.


A progressive print of the 1894 Théophile-Alexandre Steinlen poster, advertising his first gallery show. It focuses on the black areas of the image.

What’s the world auction record for this Steinlen poster? Was it set with you? The highest at our auctions was $9,200 in 2006. [This seems to be the world record, not just a house record.]

What makes this a successful poster? Why does it still sell for thousands of dollars more than a century after it was printed? It’s very appealing. It catches your attention. Cat people have an additional reason to be enamored of it. It’s one of the favorite posters by one of the most famous poster artists of the period. It was an important exhibition for him. It established him in the artistic community.

So the 1894 show did well? It was a successful show for him. He sold all his works. I won’t say it was because of the poster, but maybe it takes some of the credit.

How to bid: The 1894 Steinlen Bodiniére Exposition poster is lot 449 in the PAI-LXXVIII: Rare Posters auction taking place at Rennert’s Gallery on June 23, 2019.

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Image is courtesy of Rennert’s Gallery.

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