An Unheated Tourmaline That Weighs 100.59 Carats Could Command $1 Million

The Jena Blue, an 100.59 carat unheated tourmaline, could sell for $1 million at Heritage Auctions.

What you see: An unheated “Paraíba-type” tourmaline from Mozambique, weighing in at 100.59 carats. Heritage Auctions estimates it at $700,000 to $1 million.

The expert: Craig Kissick, director of nature and science for Heritage Auctions.

How was the tourmaline discovered? It was mined in Mozambique in 2001. A really large rough was pulled out that weighed 262 carats. The person who acquired it was looking for top-quality rough material.

Is Mozambique known for its tourmalines? Yes, especially for gem “Paraíba-type” tourmalines. Tourmalines are a prolific type of mineral also found in Brazil, California, and Afghanistan. There are quality examples from each area.

This large unheated tourmaline is described as “copper-bearing”. What does that mean? Does the presence of copper affect the appearance of the stone’s color? Absolutely. Copper-bearing tourmalines have a gorgeous bluish-green hue. That’s what sets them apart. “Paraíba” is a word for the purest form of copper-bearing tourmalines of this color from Brazil.

What does the phrase “Paraíba-type” mean? The GIA (Gemological Institute of America) can refer to any copper-bearing tourmaline as Paraíba, but old-school people in the business call them “Paraíba-type” or “Paraíba-like” if they’re not from Brazil. There are people who will pay an unlimited amount of money if they get a true Paraíba from Brazil.

And this stone, called the Jena Blue, is believed to be the largest unheated tourmaline? That’s very, very important. We do believe it’s the largest unheated tourmaline gemstone in the world.

Why is it important that it’s unheated? It’s a purity standpoint, and a value driver. There are purists out there who want no enhancements. So much material is enhanced. This is among the small percentage that is not.

But how would heat treatment improve a natural tourmaline? Heating essentially juices the visual attributes of the stone. It will often brighten or intensify the color.

What’s the next-smallest known unheated tourmaline? This is a very casual answer, but in my experience, people looking for 20-carat or 30-carat examples have enough trouble finding them. You normally see five carats. For most people, that’s a plenty big stone, fine for a ring.

Why is this unheated tourmaline called the Jena Blue? The collector prefers to be anonymous, but my understanding is the Jena Blue is some sort of contraction of two of his grandchildrens’ names.

The stone is described as “flawless”. What sorts of flaws can appear in a tourmaline? Because of how it grows, in long, columnar crystals, tourmaline is not an inherently clear material. It’s more likely to be translucent than transparent. You’re not going to hold up a tourmaline and be able to read a book through it.

This unheated tourmaline has what’s called a “native cut”. Why was that cut chosen, and how does the cut enhance the qualities of the stone? The piece was required to be cut before it left Mozambique, and it has not been recut. They [the original owner] wanted to end up with a stone that was over 100 carats. It pains me to say it, but could you recut it and come up with a visually nicer and smaller stone? You could. It was cut for yield, for the largest stone possible.

The chosen cut has a lot of facets to it…The faceting around it gives it a little sparkle. Because of the size of the stone, there’s sort of a large window in the top that allows you to see through it. Because it’s so clear, it almost washes the color out. If this stone were smaller or more included [afflicted with inclusions, a type of flaw] it could be bolder, and it could have more richness in it.

About 162 carats were discarded in cutting this unheated tourmaline. Do we know why the gem-cutter chose to dispense with so much of the rough? I don’t know the answer, but my educated guess is that with a big chunk of rough, only a certain area is gemstone material. It could have been highly occluded. It could have been damaged, or cracked. Some is lost to get down to the finished product.

What is the Jena Blue tourmaline like in person? It’s huge. I don’t say this to downplay it at all, but when you compare it to a typical gemstone, it’s cartoonish. If you were of a mind to make it into jewelry, it would be comical. And it’s very clear. To me, it’s a little more clear than colorful in person.

What is it like to hold the Jena Blue tourmaline? [Laughs] It’s scary, because you don’t want to drop it or hurt it. It’s kind of like holding a baby.

How well does it fit in the palm of your hand? I’m six-foot-five and 275 pounds. If your hand was 20 percent smaller than mine, and if you cupped your hand so it’s concave as opposed to flat, it would cover the palm of your hand. It’s gonna nestle in there just fine. But people tend to want to handle it with two hands, because they’re nervous about it.

Is the Jena Blue tourmaline heavy? No, it doesn’t feel that heavy. It’s probably a bit more than a golf ball, weight-wise. That being said, if you put it in a pendant around your neck, it’s not going to be everyday jewelry.

How did you set the estimate for the Jena Blue tourmaline? Are there any direct comparables on record? It’s a hard comp. We’ve got a precedent in that material like this can go for one million or north of that. But it’s so singular, it’s hard to know what the market is.

Is there a world auction record for a tourmaline? I’m guessing that stones such as this tend to sell on the private market, and not at auction… I don’t know the world auction record. I really couldn’t answer. Nobody sees stuff like this very often. It’s so singular, there’s not much to compare it to.

So when the Jena Blue tourmaline sells, it might automatically set a world auction record for any tourmaline? That’s very well possible. I think there probably are million-dollar-plus Paraíba-type examples out there, through gem dealers. You virtually never see 100-carat-plus tourmalines at auction, so there’s not much of a sales record.

Who would comprise the market for the Jena Blue tourmaline–natural history collectors, or people who might want to fashion the stone into jewelry? I think a natural history collector. If someone fashioned it into jewelry… it’s too big. It’s like Flava Flav’s clock. You can see it coming from a mile away. I want to believe the attributes that were important to the original collector will drive the day. There’s a lot of stones in the auction catalog that you could make into jewelry. The Jena Blue doesn’t strike me as that.

Why will the Jena Blue tourmaline stick in your memory? To me, it’s the singular nature of the stone. As a collector, I always enjoy anomalies. There aren’t other tourmalines like it out there. This is a one-time thing. It’s an incredible item. Personally, I’m more into dinosaurs than gemstones, but even I can’t deny it’s something.

How to bid: The large unheated tourmaline is lot #72111 in The Jena Blue Collection of Gemstones & Minerals Signature Auction, taking place October 5, 2020 at Heritage Auctions.

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Image is courtesy of Heritage Auctions.

Craig Kissick has appeared on The Hot Bid twice, discussing a large specimen of crystallized gold as well as a matched set of bull mammoth tusks.

Heritage Auctions filmed a 360-degree video of the Jena Blue tourmaline and posted it on its YouTube channel.

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A Karl Benjamin Painting Could Fetch $50,000 (Updated October 19, 2020)

Laguna Seascape II, a 1954 painting by the late Karl Benjamin, could sell for $50,000 or more at LAMA.

Update: The Karl Benjamin painting sold for $37,500.

What you see: Laguna Seascape II, a 1954 work by the late Karl Benjamin. Los Angeles Modern Auctions (LAMA) estimates it at $30,000 to $50,000.

The expert: Clo Pazera, specialist at LAMA.

Who was Karl Benjamin, and how does he fit in with mid-century California artists? He was a key part of the hard-edge movement, a term coined by Jules Langsner. He put together The Abstract Classicists. Benjamin was in the show, and it was the birth of hard-edge painting.

How prolific was Benjamin? I know a catalog raisonné on him is underway. Do its authors have a notion of his productivity? I’m not sure about the number of works he produced in his lifetime, but I’m sure it’s a hefty number.

It seems that Benjamin took an unusual path to becoming an artist, in that it wasn’t his primary goal. Could you talk about how his career evolved? He had studied at Northwestern and joined the Navy in World War II. Then he moved to the west coast and started teaching at an elementary school. That led him to his interest in the fine arts. He went to Claremont Graduate School for art. It was a good move, because it had a thriving art scene in the 1940s, 1950s, and 1960s. That’s probably why his career took off. He had his first solo show in 1954 though he had only been painting for four years at that point.

The Karl Benjamin painting you’re offering, Laguna Seascape II, dates to 1954. Was it in that solo show? It was! The Karl Benjamin estate has a copy of the original checklist, and the painting has a label from the show on the back. It’s great to have confirmation it was in the show.

So that 1954 exhibition was Karl Benjamin’s breakthrough? Yes, and he was obviously building up to it. 1954 to 1955 was when he started to really move into the style he became best-known for. You see his style start to crystalize. He does semi-representational pieces and starts moving into fully abstract pieces.

Are early Karl Benjamin paintings prized by collectors though they don’t match the fully abstract aesthetic of his later work? Benjamin is one of the rare cases where his early works are very desirable and sought after.

This is a small question, but I wanted to ask it. This Karl Benjamin painting is called Laguna Seascape II. Do we know where Laguna Seascape I is? I don’t know. We’ve offered a work by him called North of Santa Barbara Coast II, and the checklist for the 1954 show had both I and II, but it only had Laguna Seascape II. It’s possible that Laguna Seascape I is out there. I don’t know where.

Is the seascape in the Karl Benjamin painting a real, identifiable place in Laguna Beach, California, or is it his own invention? It’s interesting, because he never lived in Laguna Beach that I’m aware. His parents lived on the Santa Barbara coast. I don’t know what interest Laguna Beach had for him. I’m not sure what the significance was.

Are Karl Benjamin paintings of abstract landscapes relatively rare? They are relatively rare because he did move into pure abstraction pretty quickly. He only did landscapes for seven or eight years, and he was fully abstract for four decades.

Could you talk about the use of color in this Karl Benjamin painting? In his early works, the color is much more muted, which makes sense if he’s trying to do a seascape. He used bright Pop colors later in his career.

What is the Karl Benjamin painting like in person? Are there details that the camera doesn’t capture? There’s much more of a painterly quality to this piece, almost a pebbly texture to it, which you see in his earlier works. I don’t know how he got the texture on the pieces. His later style is more flat and perfect. A lot of hard-edge people put a lot of varnish on top [of their works] to give them a sheen and obscure the brushstrokes. That was the hard-edge look.

How has the Karl Benjamin painting market changed over time? The J. Paul Getty Museum’s Pacific Standard Time initiative was a major boost to California artists. Karl Benjamin certainly benefitted from the increased exposure it provided. It was a city-wide initiative with various exhibits about artists who were active from 1945 to 1980. One of the main exhibits had a really beautiful piece by Karl Benjamin. That helped his career. Since then, his market has been pretty steady.

Does this sale mark the first time this Karl Benjamin painting has come to auction? Yes. Early in his career, before he was well-established, he did a lot of exchanges for artwork, or gave pieces to his friends. This person [who first owned it] was a colleague of Benjamin’s. The painting has been exhibited, but it’s never been offered.

What’s the world auction record for Benjamin? Was it set at LAMA? It was set with us. It was a piece from a similar period, a 1955 work offered in 2013. It was estimated at $20,000 to $30,000 and realized $71,875.

Was the record-setting Karl Benjamin painting an abstract landscape, like this one? It was untitled, and had a similar color pattern. I don’t think it’s a landscape, but it was more when he was moving into pure abstraction.

Could this Karl Benjamin painting set a new record for the artist? The 1955 untitled piece was a great piece, but so is this. It really depends.

Why will this Karl Benjamin painting stick in your memory? It is very evocative of the seaside, that sort of calm you find with the sea. There’s just something about it that’s therapeutic.

How to bid: The Karl Benjamin painting is a featured lot in the Modern Art & Design Auction taking place at LAMA on October 18, 2020.

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Clo Pazera appeared on The Hot Bid before, talking about an iconic Julius Shulman image of the Stahl house, aka Case Study House #22, and an untitled Ed Moses abstract

Karl Benjamin’s estate has a website.

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Diane Arbus Photographs Owned by Albino Sword Swallower Sandra Reed Could Together Command $80,000 (Updated September 29, 2020)

A Diane Arbus double portrait photograph of albino sword-swallower Sandra Reed (right) and her sister, Doreen, could sell for $20,000 or more at Potter & Potter.

Update: Lots 233 and 234 sold for $6,000 each. The circa 1965 group photo, lot 231, fetched $12,000.

What you see: A gelatin silver print of albino sword-swallower Sandra Reed (right) and her sister, Doreen, taken in 1970 by Diane Arbus. It and three other images from the same session come directly from the estate of Sandra Reed. Potter and Potter estimates each at $10,000 to $20,000.

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

Do we know the story behind how Diane Arbus and Sandra Reed met? Did Reed know who Arbus was? I don’t know the story behind that, but I’m sure it’s chronicled. Obviously, Arbus had a fascination with sideshows, circuses, and unusual people. It’s a hallmark of her work. Joe, who works for me, could relate it better. Johnny Fox (a sideshow performer whose collection Potter & Potter sold in November 2018) had Arbus photos that Sandra Reed had given him. When Joe was doing the research on the photos, he found Reed’s phone number and called her. She had a vague recollection of the photo session, but it wasn’t like, “Oh, by the way, I’m the sword-swallower in the pictures by Diane Arbus”. Again, I’m speaking for Joe, but [I get the sense that it was] “Oh, I remember a lady came to the fairground and took pictures”.

Is it possible that Reed never realized the significance of having posed for Diane Arbus? The photographs in this auction were Reed’s property. She’s deceased. She died last year. The family consigned them.

Do we know how the Arbus photos came to Sandra Reed? Would Arbus have sent them to her? That’s speculation. Her kids are so far removed [from Reed’s time as a sword-swallower], they have no memory of it.

A closeup shot of Doreen and Sandra Reed, taken by Diane Arbus circa 1970 on the grounds of the sideshow where Sandra performed as a sword-swallower. Both women happen to be albinos.

So we know these photos belonged to Sandra Reed because they come directly from her family? They’re not stamped by her, but they’re clearly from the session and they’re clearly from Reed’s collection. We also have Reed’s scrapbooks from her time on the shows [they comprise lots 236 and 237], and her traveling trunk, with her name on it. I really wanted the swords in the Arbus photos, but I can’t locate them.

Do we know how the photo session for the Arbus sword-swallower photos came about? Was it planned, or spontaneous? I don’t know, but her work is well-documented. I know that the large prints of Sandra Reed are some of her most iconic works. She took many different shots.

Many of the Arbus sword-swallower photos you’re offering include Sandra Reed’s sister, Doreen. Do we know why Doreen happened to be there? To me, that says they were both on the show. I think they were both albino.

Even though Doreen is not wearing a costume, and Sandra is? Right.

Also included in the sale is a circa 1965 group shot Diane Arbus took of the performers at Huber's Museum. It carries the same $10,000 to $20,000 estimate as the photos featuring Sandra Reed.

The auction includes a fifth Arbus photo, a group shot taken in 1965 at Huber’s Museum. What does it say about Arbus that she returned to these subjects so regularly? It’s clearly a big part of her life’s work. Obviously, she was interested in chronicling people who you did not see on the subway. Or if you do, you stare at them. There’s one guy in the Huber’s Museum photo who’s still alive, and performs as an Elvis impersonator and an escape artist. Mario Manzini. He’s up front, with dark hair, crouching, and in chains. If you ever need an Elvis who can escape from handcuffs, he’s your guy.

The two Arbus sword-swallower photos that you offered as one lot in the 2018 Johnny Fox sale sold for $28,800, and a record for a sideshow item at auction. Did that sale lead to the consignment of the four photos you’re offering now? One thousand percent, absolutely. It’s how Reed’s family found us.

What was your reaction to the 2018 sale? You had estimated those Arbus sword-swallower photos at $1,000 to $1,500, so I imagine it was a surprise. I thought they could get there, but the condition of the photos were less than great, and they were small. I estimated them conservatively. They had all the hallmarks of the potential to do very well–never before at auction, and the auction had a lot of buzz around it, because everybody knew Johnny.

A long shot of Sandra Reed (right) and her sister, Doreen, taken by Diane Arbus circa 1970.

How do these four Arbus sword-swallower photos compare to the two that set a record in 2018? These are much larger, and they have fewer condition issues. I put a higher estimate on them, but there’s no reserve. If you have $5,000, you can have a Diane Arbus photo, assuming no one else bids against them. And you can see three different versions of kind of the same photo–a distant shot, a close-up, and a medium-length shot. I can see someone wanting to buy all three for that reason.

None of the four Arbus sword-swallower photos show Sandra Reed with her sword. One of the two that sold for a record in 2018 did. Do you think that will matter? I don’t think so. Some of Arbus’s great photos of her have nothing to do with swords.

Diane Arbus also photographed the Reed sisters with two unidentified women, at least one of whom appears to be a performer in the sideshow.

What are the Arbus sword-swallower photos like in person? Are there aspects that don’t come across on camera? You’ll never have the same feeling as holding them in person. They’re the real thing.

But these are gelatin silver prints. I’m under the impression that those types of photographs have a silkiness to them– There’s that, but it’s not about the texture, it’s about the history. It’s a physical object, touched by a great photographer and touched by and owned by the subject of the photograph. Those are the things that speak to me. They’re imposing because of the story they tell and the people who interacted with them. They don’t carry physical weight, but they carry historical weight.

How much of the $10,000 to $20,000 estimate for each Arbus sword-swallower photo comes from the fact that Sandra Reed, the person shown in all four, owned them? It might not be half, but it’s certainly 25 percent of it. If you’re a photo collector, I’m not sure if you give a shit, but I certainly would. For me, that’s fantastic. Boy, is that a selling point.

Did the 2018 Arbus sword-swallower photos go to a sideshow memorabilia collector or a collector of Diane Arbus photographs? Neither. I don’t know them to be an Arbus collector, but I know them to be an art collector.

Why will these four Arbus sword-swallower photos stick in your memory? The serendipitous nature of it, whatever word you want to use that describes happenstance–the nature of getting the consignment like this. It’s like a giant puzzle that gets unassembled and reassembled, and we end up putting it together in surprising and potentially profitable patterns.

How to bid: The four Diane Arbus photographs from Sandra Reed are lots 232 to 235 in the Potter and Potter auction; the 1965 Arbus group portrait is lot 231. All appear in the Circus, Sideshow & Oddities sale taking place on September 26, 2020.

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Image is courtesy of Potter & Potter. 

Gabe Fajuri has appeared on The Hot Bid many times. He’s talked about a vintage Harry Houdini postcard from the magician’s personal collectionan oversize Alexander: The Man Who Knows poster, a Daisy and Violet Hilton poster from the conjoined twins’ vaudeville years, an impressive talking skull automaton that went on to sell for $13,200, a magician automaton that appeared in the 1972 film Sleuth, a rare book from the creator of the Pepper’s Ghost illusion,  a Will & Finck brass sleeve holdout–a device for cheating at cards–which sold for $9,000a Snap Wyatt sideshow banner advertising a headless girl, a record-setting stage-worn magician’s tuxedo; a genuine 19th century gambler’s case that later sold for $6,765; a scarce 19th century poster of a tattooed man that fetched $8,610; a 1908 poster for the magician Chung Ling Soo that sold for $9,225; a Golden Girls letterman jacket that belonged to actress Rue McClanahan; and a 1912 Houdini poster that set the world record for any magic poster at auction.

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