SOLD! The Kem Weber-Designed Walt Disney Animation Desk Fetched $13,145 at Heritage

Kem Weber Designed Disney Animation Desk and Eric Larson Pencil Tray (Wa...

Update: The Kem Weber-designed vintage Walt Disney animation desk sold for $13,145.

What you see: An animation desk designed by Kem Weber for the Walt Disney Company circa 1939 or 1940. It’s shown here decorated with the accoutrements of a working animator, but the lot consists solely of the desk, the bulletin board, and a pencil tray that once belonged to Eric Larson. Heritage Auctions estimates the desk at $20,000 to $25,000.

Who was Kem Weber? Karl Emanuel Martin Weber was a German designer who moved to the United States during World War I and became a citizen in 1924. He coined a new first name from his initials. Disney chose him as the main architect of his corporate headquarters in Burbank, California. Weber is best known for his airline armchair, a streamlined design that appears in the collections of the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York. He died in 1963 at the age of 73 or 74.

How did Walt Disney come to hire Kem Weber as the architect and interior designer for his new facility? “Disney traveled in some high-end circles. He wanted the best of the best, a state-of-the-art facility,” says Jim Lentz, director of animation art for Heritage Auctions. “Kem Weber designed nearly every aspect of the studio, even the font types on the building.”

How did Weber design the desk to meet the needs of Disney’s animators? “It’s made for these guys to animate,” he says. “It has all kinds of shelving and places to put paper and pencils.” One thing Weber didn’t include was an ashtray. Animators balanced their cigarettes on one of the metal bars on either side of the drawing surface. The circle you see in the center of the surface is an animation disc, which is lit from underneath and allows the artist to attach a piece of paper and rotate it horizontally or vertically.

Do we know how many animation desks Weber made, and how many survive? And do we know who at the Disney studio used it when it was new? “We don’t know. Only a handful of desks have ever come up for sale. They’re rare,” he says, adding that this is the first Kem Weber Walt Disney animation desk he has handled. As for who used it–Lentz believes that animator Hal Ambro is the likeliest choice, but he takes pains to stress that only the pencil tray belonged to Eric Larson, one of the supervising animators who formed the Disney group dubbed the Nine Old Men.

How did Disney animator David Pruiksma come to own this desk? “He got it for his home studio. Eric Larson was his mentor at Disney, and he gave him the pencil tray,” Lentz says, noting that Pruiksma animated the Disney characters Flounder from The Little Mermaid, Mrs. Potts and Chip from Beauty and the Beast, the Sultan from Aladdin, the gargoyles Victor and Hugo from The Hunchback of Notre Dame, and more.

The animation desk is described as being in “good” condition. What does that mean? “That means it’s not falling apart,” he says, laughing. “Pruiksma used it in his home studio before deciding to sell it. He’s retired now. He did a lot of work at his home studio. It’s a working desk.”

What else makes the desk stand out? “It’s a beautiful piece of furniture that has quite a history,” he says. “This desk would have been used to make Peter Pan, Bambi, Alice in Wonderland, and Lady and the Tramp. It’s amazing. It’s a piece of Walt Disney’s studio, it was a significant piece in creating all the films we talk about, and it was designed by one of the most famous furniture designers of the time.”

How to bid: The Kem Weber Walt Disney animation desk is lot #95012 in the Animation Art auction on December 9 – 10 at Heritage Auctions in Beverly Hills.

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The Animation Art sale includes related lots that might be of interest–a Kem Weber airline armchair; a modern Disney studios television animation desk, which was used when Duck Tales and Goof Troop were in production; and a modern Disney feature film animation desk which was used during the period that spans The Little Mermaid to Tarzan.

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

SOLD! This Casually Perfect 1951 Henri Cartier-Bresson Shot From Italy Fetched $30,000–Double Its High Estimate–at Phillips

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Update: Cartier-Bresson’s Scanno, L’Aquila, Abruzzo, Italy sold for $30,000–double its high estimate.

What you see: Scanno, L’Aquila, Abruzzo, Italy, a photograph that Henri Cartier-Bresson shot in 1951. This gelatin silver print was made later, however. Phillips estimates it at $10,000 to $15,000.

Who was Henri Cartier-Bresson? Born in France, he was the king of the candid photographers, and he’s regarded as a father of street photography. He co-founded Magnum Photos, a cooperative photojournalists’ agency, in 1947. His images of the funeral of Mahatma Gandhi in 1948 cemented his reputation. He died in 2004 at the age of 95.

Do we know anything about the lead-up to this photo–how long Cartier-Bresson stood there, and how many other photos he might have taken at this spot? “Here, he’s standing at the top of the stairs. For Cartier-Bresson, he would sometimes stay for a few minutes. He wouldn’t have stayed for a long amount of time. He would shoot and keep walking,” says Rachel Peart, specialist and head of sale for Phillips. “Cartier-Bresson was famous for not wanting to crop his photos afterward. He was very deliberate about what he put in his lens.” Subsequent research of auction records revealed a few iterations of the image appearing for sale in the late aughts and early teens.

I look at this photo and it reminds me of a game of Jenga–pushing the boundaries of how much can you add before the whole thing topples and falls apart… “I think that’s what makes Cartier-Bresson such a great photographer,” she says. “When it comes to composing an image, it’s technically perfect. The railings lead your eye through the picture plane and also divide it. He continued to draw throughout his lifetime, and the fundamentals of composition are evident in all of his work.”

How does this 1951 image illustrate Cartier-Bresson’s concept of “the decisive moment” in photography? “It’s not something he staged or posed. He waited for the moment when everything lined up,” she says. “Here we have the women going about their day. He was able to freeze the moment and hold them in time.”

Why was he in the Italian town of L’Aquila in 1951, and where was he in his career by then? “He was on assignment for Harper’s Bazaar,” Peart says. “He had founded Magnum by this point, he was on assignment for many publications, and he was very much a household name.”

This image was printed after 1951, but probably before the rise of the formal secondary market for photography. Why would he have had it done? “What we predominantly see in the Cartier-Bresson market are later prints, and after 2004, none are made–there are no posthumous prints,” she says, noting that Cartier-Bresson never did the actual printing himself, but he did supervise and approve the output. “A lot of them would have been printed for collectors or for exhibitions. Unless people requested the image, he didn’t make prints of them. There are other pictures of his that you see at auction more frequently [because people asked for them].”

How many prints of Scanno, L’Aquila, Abruzzo, Italy were made? It’s hard to tell. Perhaps 30 exist in the 17 5/8 inch by 11 3/4 inch size, and one of them fetched $10,625 at Christie’s in 2011. A similar image taken from the same vantage point and printed at a smaller size has appeared at auction at least twice (the name of the photo is not standardized, which makes it difficult to confirm how often it and its variants have gone to auction). One sold in June 2015 at Westlicht, a Viennese auction house specializing in photographs and vintage cameras for €4,800 ($5,400), and the other sold at Swann Galleries in November 2016 for $6,500.

The lot notes say the photo was acquired directly from the artist. But acquired by who? The consignor is Peter Fetterman, who runs an eponymous photography gallery in Santa Monica, California. “He was working directly with Cartier-Bresson as a dealer and it turned into a friendship,” she says. “He would buy from Cartier-Bresson and for himself as well. There’s one Sam Tassa portrait of Henri Cartier-Bresson, but otherwise, they’re all from Peter Fetterman, who got them directly from Henri.”

Why is Fetterman selling these photographs now? “Cartier-Bresson is obviously an artist he loved and very much respected, and he loved building the collection. But he felt it was the right time to put it out into the world,” Peart says.

What else makes this Cartier-Bresson image special? “It’s Henri Cartier-Bresson doing what he does best, taking this moment from a town in Italy and making it so compositionally dense and rich,” she says. “You can revisit his images over and over, and this one really epitomizes that.”

How to bid: Henri Cartier-Bresson’s Scanno, L’Aquila, Abruzzo, Italy is lot 37 in Henri Cartier-Bresson: The Eye of the Century, taking place at Phillips New York on December 12.

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

A note: In 2009, L’Aquila was near the epicenter of an earthquake that measured as high as 5.9 on the Richter scale. It killed more than 300 people and damaged thousands of buildings. It’s unclear if the vista that Cartier-Bresson captured in 1951 survives, but it was pretty much intact in 2008. More than seven years after the quake, the Italian city is still recovering from its effects.

 

People Power! A 19th Century Sedan Chair Might Command $2,700 at Bonhams

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What you see: A French late 19th century polychrome decorated and parcel gilt sedan chair. Bonhams estimates it at £1,500 to £2,000, or $2,000 to $2,700.

What’s a sedan chair, and how was it used? Sedan chairs were popular in the 18th and 19th century. They seated a single rider who was borne along by two “chairmen,” who would carry it with the help of the poles (which are visible in this shot). “People were very fond of using them in the 1700s,” says Tom Moore, head of the furniture and works of art department for Bonhams. “The streets could be very dirty and there were unsafe areas as well. With a horse [riding a horse], you were more open to the elements and you were not necessarily very safe in traffic. These were much more mobile through the streets.”

Who used sedan chairs? “A very, very small percentage of the wealthiest people owned them,” he says. “If they didn’t have their own, they’d hire them, like taxis. A lot of the ones owned by wealthy people have lovely painted scenes on them, and incredible gilding that matched the interior of the home where it would sit. People who didn’t have as much hired plainer sedans, with no decorations at all.”

Were they only used in Europe? Nope. “They were used quite widely in Colonial America as well, most famously by Benjamin Franklin,” he says. “He was a big advocate until his demise in 1790.”

What can we figure out by looking at this sedan chair? “The very wealthy would often have a silk-lined interior [in their sedan chairs]. It’s got a velvet-lined interior that’s a little bit worn, but no more than you’d expect for the period,” he says. “Looking at the decoration, it’s been refreshed or repainted over at a later date, because the condition is so good. It’s colorful as well.”

So this was a mid-range model, owned by someone who was wealthy enough to have a private sedan chair, but not wealthy enough to have a fully blinged-out one? “It’s fair to say,” he says. “There are very small bits of gilded elements. The border decorations have gilt, but it’s very minimal. On some of the best examples in the 18th century, the [painted] flowers and the foliage can be quite ornate. It’s not plain. It’s somewhere in the middle.”

How did the rider get in and out of the sedan chair? “The door is on the front, between where the poles are,” he says.

Was this sedan chair actually used? “I think it was,” he says. “If not, why would it have metal brackets for the poles?”

What was it like to ride in a sedan chair? “From what I’ve read of accounts of people traveling in them, it could be quite bumpy,” Moore says. “People carried them, and even if the rider is quite light, it’s quite a chore. But sedan chairs didn’t have to stop for traffic. It’s an efficient means of travel. That’s why they were popular with people who could afford them.”

How many vintage sedan chairs survive? “In terms of 18th century examples, there aren’t a great deal left. They tend to be in private collections or museums,” he says. “The one in our sale is a 19th century revival. They’re very decorative pieces and can be quite sought-after and very attractive.”

How often do sedan chairs come up at auction? “I’ve been with Bonhams now for over six years in this capacity and in that time, I’ve only seen one other apart from this one,” he says.

Who buys sedan chairs now? “If you buy them, you’re not going to be using them,” he says. “It’s either someone who’s a collector, or they’re probably for a decorative purpose.”

Why will this sedan chair stick in your memory? “The nature of its decoration. It’s a colorful, bright piece of furniture. It’s really interesting, historically, and it’s rare for these to come up,” he says. “Sedan chairs are fascinating things that tell us quite a lot about certain periods in our history.”

How to bid: The vintage sedan chair is lot 612 in the Home and Interiors sale at Bonhams London, Knightsbridge, on December 19, 2017.

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

 

Put Your Hands Up for This Scarce 1908 Chung Ling Soo Magic Poster, Which Could Fetch $6,000 at Potter & Potter

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What you see: A 1908 poster touting the talent of magician Chung Ling Soo. Potter & Potter estimates it at $5,000 to $6,000.

Who was Chung Ling Soo? Born William Ellsworth Robinson in Westchester County, New York in 1861, he was a behind-the-scenes designer of magic tricks for headliners Harry Keller and Alexander Herrmann before he struck out on his own. Around 1900, while in Europe, he adopted the Chung Ling Soo persona. He went to great lengths to preserve the illusion, limiting his speech on stage to the occasional bit of broken English and relying on an interpreter to talk to journalists. He died in 1918 at the age of 56.

Are vintage posters featuring Chung Ling Soo rare in general? “Yes, I would say they’re uncommon or scarce,” says Gabe Fajuri, president of Potter & Potter. “The one we’re talking about is a bit harder to find than the others.”

This is one of eight different Chung Ling Soo posters in the auction. Did they all come from the same consigner? One comes from one consignor, and the rest come from a second.

Other famous magic posters of the era show the magician receiving supernatural help. Here, Chung Ling Soo shows what he purports to be the source of his magical talent–his own hands. No supernatural help required. Is this an unusual theme for a vintage magic poster? “There are plenty of portraits [on magic posters],” he says. “We have sold other posters of magicians showing their hands and doing maneuvers, but they’re not as artful as saying ‘My Ten Assistants.’ It got reworked by Ricky Jay into ‘My 52 Assistants.’ It’s not the only example of a magician showing sleight of hand on a poster or referring to sleight of hand, or how they accomplish their tricks.”

Is Robinson, aka Chung Ling Soo, the first person to move from a backstage magic designer role to an on-stage magician role? “He was the great secret weapon for these guys. He was designing and inventing illusions,” he says. “In any professional situation, someone will say, ‘Oh yeah, my boss doesn’t know what he’s doing. I can do a better job.’ He proved he could do as good a job. It took work, and a different persona, but his success is pretty significant.”

Would you talk about how Robinson/Soo died? “He was performing a bullet catch trick in London, England. It was one of the big theatrical showpieces of his performance,” Fajuri says. “I wrote a long time ago that instead of catching the bullet on a plate, he caught the bullet in his chest. They brought the curtain down, and he died not long after.”

Was he the first magician to die doing the bullet catch trick? No. “It wasn’t a new trick. It had been around for decades [by 1918, when Robinson/Soo died], and it had killed people,” he says. “Keller advised Houdini against it in a very famous letter. Robinson did have experience backstage with the trick, and he was familiar with other ways of performing the feat. There’s controversy surrounding what happened. Not thoroughly checking his props led to his demise. It’s a tragic story. He was at the top of his game.”

How rare is the ‘Chung Ling Soo and His Ten Assistants’ poster? “I haven’t had one before in ten years of auctioning magic memorabilia,” he says, adding that he’s aware of at least six copies. “This one was owned by a magician in England. He died years ago, and his family consigned it. It’s in A- condition. Very little was done to it. You’re not going to get much better than this.”

What else makes this Chung Ling Soo poster special? “This is more scarce. The image is realistic. The turn of phrase is nice, and the colors are not garish,” he says. “It has a lot going for it by way of aesthetics, the story, and the man it depicts. It has a little bit of everything.”

How to bid: The ‘Chung Ling Soo and His Ten Assistants’ poster is lot 10 in Potter & Potter‘s Winter Magic Auction on December 16.

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If you’re intrigued by the story of Chung Ling Soo, you need to read The Glorious Deception: The Double Life of William Robinson, aka Chung Ling Soo, The ‘Marvelous Chinese Conjuror,‘ by Jim Steinmeyer. Really, you ought to read everything Jim Steinmeyer has ever written, but start there, and please buy your copy from an independent bookstore.

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

Bloomsday Comes Early! Sotheby’s Could Sell the Scarcest First Edition of James Joyce’s Ulysses for $250,000

Lot 188, James Joyce Ulysses (i)

 

What you see: A first edition copy of James Joyce’s Ulysses from the 1/100 series of the run of 1,000, which is signed by the author. Sotheby’s estimates it at $150,000 to $250,000.

Who was James Joyce? He was an Irish author and poet who ranks as one of the most important and influential authors of the 20th century. Ulysses, published in 1922, catapulted him to literary stardom, even as it was challenged by censors who deemed parts of it obscene. Bloomsday, a June 16 holiday that celebrates Ulysses by visiting places in Dublin, Ireland where Joyce set the story, has taken place since 1954. He died in 1941 at the age of 58.

How was the first edition of Ulysses produced? The Paris bookstore Shakespeare and Company, run by American Sylvia Beach, printed Ulysses in three issues of 750, 150, and 100, which added up to 1,000 copies. All three were numbered, but only the 1/100 issue was signed by Joyce. All copies were issued in blue paper wrappers, a color meant to call to mind the blue of the Greek flag and link Joyce’s work to the ancient tale of the Odyssey.

What makes this particular copy stand out? “It’s a really, really fine copy of what many critics say might be the most important modernist novel,” says Peter Selley, specialist in books and manuscripts at Sotheby’s, explaining that the blue paper wrappers “are quite fragile, and the majority of copies that survive have had to be cloth bound. With this copy, the special wrappers are preserved.” He adds that the copy includes the original prospectus, “which can be collectible in its own right.” It’s a single sheet of paper that announces the forthcoming publication of the book.

When Sylvia Beach published the book in 1922, did she and Joyce know what they had? “There was a lot of excitement before it was printed,” he says. “Sylvia championed it, and it was awaited in critical and collecting circles. There was a lot of excitement before it came out. Joyce was famous by then. They knew something special was happening,” he says, adding, “Sylvia Beach would probably not be surprised if the first edition of this book, 100 years later, was selling for $200,000 to $250,000. She really believed in it.”

When did Ulysses truly take off as a collectible book? “In the early to mid-1980s, there was a big uplift in prices,” he says. “It appealed to collectors who want the high spots. People want the key works in the best condition.”

Is the 1/100 version of the Ulysses first edition considered superior to the other two versions? “It depends on what you mean by superior,” he says. “It’s the most limited issue, and collectors gravitate to the most limited issue. The 1/100 is always going to be the most desirable, and most deluxe, in collectible terms.”

How often does a 1/100 copy of Ulysses come to auction? “About one or two every year,” he says. “Normally they fetch very high prices. It can fetch up to $300,000 to $400,000 for inscribed copies.”

Where did James Joyce sign the book? On the colophon page, a page at the front of the book that describes the details of each edition and gives the number of the copy: 82. “Look at the signature. He always signs at that angle,” he says, referring to the southwest-northeast rise of Joyce’s script. “Even in his manuscripts, he always writes at that angle. It’s very distinctive.” (To see Joyce’s signature, click on the second thumbnail you see below the main image on the lot page.)

Why will this copy stick in your memory? “I’ve been in the business since the mid-1980s. I don’t think I’ve ever seen a first edition copy of Ulysses that’s as nice as this,” he says. “I’ve never seen as completely mint copy of a 1/100. It’s probably close to as-issued as any I’ve seen.”

How to bid: The first edition 1/100 copy of James Joyce’s Ulysses is lot 188 in the English Literature, History, Children’s Books and Illustrations auction at Sotheby’s London on December 11.

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

Young Abraham Lincoln Made This Wooden Mallet. Christie’s Could Sell It For Half a Million Dollars.

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What you see: A wooden bench mallet bearing the initials ‘A.L.’ and the date ‘1829’, and made by Abraham Lincoln as a young man. It’s one of the earliest, if not the earliest, Lincoln artifacts in private hands. Christie’s estimates it at $300,000 to $500,000.

Who was Abraham Lincoln? He was the 16th president of the United States, and second only to George Washington in the pantheon of great presidents. He steered the country through the crisis of the Civil War, ultimately holding the union together and defeating the system of slavery. He was fatally shot on April 14, 1865 by actor John Wilkes Booth at Ford’s Theater in Washington, D.C., and died the following day. He was 56.

So, this mallet is made entirely of wood? Yes. “The top part is the burl of a cherry tree, which is where two branches come together–it’s a nice, dense piece of wood–and the handle is hickory,” says Peter Klarnet, senior specialist in Americana, books, and manuscripts at Christie’s.

Would Lincoln and his neighbors on the Indiana frontier have used it like a hammer? “Not exactly,” he says. “Most housing at that time (the 1820s), when they were constructing the frame of a house, they wouldn’t use nails. They’d use wooden pegs, because they’d breathe with the frame of the house. An iron hammer on a wooden peg is just too much force [so they used a wooden mallet instead].”

Why would Lincoln have put his initials on the wooden mallet? To make sure no one else would take it? “That, and it was also a mark of pride–‘I made this,'” he says. “His father was a cabinet-maker, and he would have learned the [mallet-making] skills from his father.”

Why would Lincoln have put the date on the mallet? Did he initial and date it at the same time? “He probably marked it ‘1829’ because it was 1829. He was 20 years old, and he was becoming a man,” he says. “We can’t determine if he initialed and dated it at the same time, but all the materials would have been available to him at the time.”

And a wooden mallet would have been a must-have on the frontier back then? “Absolutely. This was a necessary tool for any frontier farm to have,” Klarnet says, adding that it explains why Lincoln might have given it to his neighbor, Barnabas Carter, Jr., as a wedding gift–it was the sort of thing that a newlywed young man needed. Carter married in January 1830, around the time when Lincoln moved to Illinois, and was giving away possessions ahead of the move. “It’s conjecture, but it makes a lot of sense for [Lincoln to give the mallet to] someone establishing a household,” he says.

How did the Lincolns and the Carters know each other? “We know from the historical record that they were neighbors,” he says. “Family tradition shows that Barnabas Carter, Jr., was the original owner of the mallet, and Lincoln gave it to him around 1829. In examining census records and church records, we see that they went to the same church and voted in the same place.”

When did the mallet stop being a tool and start being a relic? “Not until 1858, with the Lincoln-Douglas debates, when he rose to national prominence,” he says. “After Abraham Lincoln was famous, the family actually hid the mallet away, in a basement, and kept it out of sight.” In the late 20th century, Carter’s descendants displayed the mallet on the family hearth (scroll down to see the picture), and one of them brought it to show-and-tell when she was a child of five.

Does the mallet show signs of wear? Yes. “You can see where it’s been pulverized by repeated strokes,” he says. “It was used for maybe 20 years [after Carter received it from Lincoln], then it stopped.”

The mallet head was scavenged from the remains of a broken rail-splitting maul. Do any other artifacts that reflect Lincoln’s image as a rail-splitter survive? The National Museum of American History, part of the Smithsonian in Washington, D.C. has an iron wedge for splitting wood that features Abraham Lincoln’s initials on one side. According to legend, Lincoln applied the letters to the wedge himself when the blacksmith shied away from the task.

What else convinces you that Abraham Lincoln personally made this mallet? “Those people decided to keep quiet, which makes me more confident in its authenticity,” he says. “It had a more special meaning to them. They didn’t want publicity.”

Why is the family selling it now? “I don’t know the specific motivation. In every generation, it went to one person. This time, it went to two. That might be behind it,” he says, adding, “And they wanted to share it with the world. They think it belongs in a major museum collection, as do I. It’s very evocative of an early period of Lincoln’s life.”

How did you put an estimate on the mallet? Klarnet laughs heartily, then says, “To a certain extent, it’s an educated guess. In terms of manuscripts, we had his 1864 victory speech and his last speech as president, and both brought in excess of $3 million. It was based on those high points and other material that sold in excess of $1 million. We hedged our bets. We thought $300,000 to $500,000 was a relatively conservative estimate that underscores its importance to the Lincoln story.”

How does it feel to hold the mallet in your hand? “I’m not going to swing it!” he says, laughing. “I held it very, very gingerly. But it felt pretty cool. To think that it’s a tool that was actually used by Lincoln… I’ve handled letters by George Washington, by Lincoln, by FDR, by Teddy Roosevelt. It still gives you goosebumps when you’re given the opportunity to handle something like this.”

What else makes the Lincoln mallet special? “I have never had anything quite like this before,” he says. “It offers a view of a not-well-documented portion of Lincoln’s life. To have something that was his from this period, which is so difficult to source–that’s why it will always stick with me.”

How to bid: Abraham Lincoln’s wooden bench mallet is lot 67 in the December 5 auction of Fine Printed Books and Manuscripts Including Americana at Christie’s New York.

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

SOLD! Hedy Lamarr, Ava Gardner, Jeanette MacDonald, Fay Wray, and Lana Turner All Wore This Fake Diamond Necklace On Screen. It Fetched $2,025 at Julien’s

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Update: The simulated diamond necklace made by Joseff of Hollywood and worn by more than half a dozen celebrities on screen sold for $2,025.

What you see: A simulated diamond necklace by Joseff of Hollywood, dating to the mid-1930s. Julien’s Auctions estimates it at $5,000 to $7,000.

Who was Joseff of Hollywood? Eugene Joseff was once a commercial artist for an advertising firm who enjoyed making jewelry as a hobby. He went to Los Angeles on vacation in 1928, just as the Great Depression started to take hold and advertisting work started to drop off. He never found his way back to Chicago. Joseff befriended costume designer Walter Plunkett and railed to him about the historical inaccuracy of the jewelry he paired with his screen clothes. Plunkett challenged him to do better. That challenge gave rise to Joseff of Hollywood, which supplied period-correct, camera-friendly costume jewelry to Golden Age Hollywood. Joseff conjured Shirley Temple’s tiara and scepter for The Little Princess, matched the spark of Vivien Leigh’s Scarlett O’Hara with appropriate jewels for Gone With the Wind, and turned Elizabeth Taylor into an Egyptian queen in the notorious big-budget flop Cleopatra. Joseff died in a plane crash in 1949, when he was in his early forties. His widow, Joan Castle Joseff, took over Joseff of Hollywood until she died in 2010 at the age of 97.

How much of its archives has Joseff of Hollywood consigned for sale? “A good deal of it, but Joseff of Hollywood is still in business, still renting to studios, and still at work,” says Martin Nolan, executive director of Julien’s Auctions. “We were allowed to come in and go through the archive. It was like a treasure hunt, opening drawer after drawer. We’ve been working on the auction since January.”

Eugene Joseff died more than 50 years ago, and his wife, Joan, who ran the business after his death, passed away seven years ago. Why is this trove of vintage costume jewelry being sold now? “In the auction world, there’s something we call ‘the window’–the optimum time to let something go, when there are collectors and fans who know who these people are,” he says. “It’s a good time to let go. These pieces are going to go to homes that appreciate them and museums that will exhibit them, and continue the legacy of the stars who wore them.”

I picked lot 484 because–and I’m going to appropriate a verb here–it’s traveled. Seven different actresses wore the fake diamond necklace in seven different movies between 1934 and 1952, and it appeared on the cover of Life twice to promote two different productions in the mid-1940s. And that’s just counting the rentals that actually carried through–shoots get cancelled, scenes get cut, costume directors decide at the last minute that they need something different. Is this the most ‘traveled’ piece in the auction? “I’d say up to 20 percent of the collection selling now was worn by more than one star in more than one movie,” he says. “With this particular one, we can document that it was worn seven times by various stars. It’s one of the most popular pieces. It was used many times.”

The necklace first appears around the neck of Fay Wray in the 1934 film The Affairs of Cellini. Joseff was a stickler for historical accuracy in jewelry, so presumably, his workshop made it to look like it belonged in the Italian Renaissance. After that, Jeanette MacDonald wore it in The Firefly (1937); Anita Louise wore it in Marie Antoinette (1938); Hedy Lamarr wore it in Her Highness and The Bellboy (1945); June Haver wore it in I Wonder Who’s Kissing Her Now (1947); Ava Gardner wore it in her hair in The Great Sinner (1949); and Lana Turner wore it in The Bad and the Beautiful (1952). In addition, Ann Sheridan and Lucille Bremer wore it in publicity photos for two other movies, and one of Bremer’s images appeared on the cover of Life. What makes this jewelry design so ludicrously adaptable? “The most important thing is, it’s sort of bland, almost. It’s not jumping out at you,” he says. “You don’t look at it and say, ‘Oh, Fay Wray wore that in The Affairs of Cellini.’ It blended in.”

What did Eugene Joseff and his workshop do to the necklace to make it so adaptable? “I don’t know [what he did to this specific necklace], but all his pieces are able to have parts removed, or be shortened or lengthened,” Nolan says. “He was a man at work in his studio with a team of jewelers who were able to make adjustments easily.”

What else did Joseff do to adapt his pieces to the needs of Hollywood film production? In addition to inventing a formula for a matte gold that was easier for film crews to light, Nolan says Joseff created “a special resin to go in back of a stone to absorb its light, so the camera could get its true color.”

Have you handled the necklace? Yes. “It’s exquisite, it’s beautiful. It looks like a priceless piece of jewelry,” he says. “It’s a costume piece, but it’s important given that it was worn by so many stars.”

Is it fragile? “The pieces are very robust,” he says. “It speaks to the genius of the jeweler who made the piece. They look exquisite, but they’re quite sturdy.”

When I spoke to people at Sotheby’s about giving an estimate to Vivien Leigh’s personal charm bracelet, they told me they went by the intrinsic value of its gold and gems alone. How did you arrive at an estimate for this necklace, which does not contain real gold or gems? “What people are buying here is a tangible item that tells a story. It’s a great conversation piece,” he says. “All the stars who wore it–that’s where the value is.”

How to bid: The simulated diamond necklace is lot 484 in Joseff of Hollywood: Treasures from the Vault, which takes place November 18 at Julien’s Auctions.

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