SOLD! Swann Sold Edward Gorey’s “Cat Fancy” Cover Illustration for “The New Yorker” For (Scroll Down to See)

M39836-1 001

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editor Françoise Mouly explained in her Cover Story that The New Yorker’s editor, David Remnick, asked if they had any unpublished work by Gorey in their archives to accompany an appreciation of him by Joan Acocella for their December 10th issue.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.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Swann Auction Galleries is on Instagram and Twitter.

 

Text is copyright Sheila Gibson Stoodley. 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.

 

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

 

 

 

 

 

 

 

 

Rennert’s Gallery Has an Iconic Steinlen Cat Poster with Two Progressive Prints. It Could Command $17,000

unnamed

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.

 

553c

 

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.

 

unnamed-copy

 

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.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Rennert’s Gallery is on Instagram and Twitter.

 

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

 

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

SOLD! Christie’s Hong Kong Sold That Gorgeous 1888 Brass Louis Vuitton Trunk for (Scroll Down to See)

59925507-A

Update: The 1888 Louis Vuitton brass Explorer trunk sold for HKD $1.25 million, or about $159,200.

 

What you see: A rare Louis Vuitton brass Explorer trunk, dating to 1888. Christie’s estimates it at HKD $1 million to $1.5 million, or $128,000 to $192,000.

 

The expert: Winsy Tsang, vice president and head of sale, handbags and accessories, Christie’s Asia Pacific.

 

This trunk is described as “rare.” What does that mean in this context? Do we know how many brass Explorer trunks of this size that Louis Vuitton made in the 19th century? We don’t know exactly how many were made. All we know is that we haven’t seen another one like this on the market, and only very few in other sizes and models. This is, potentially, a once-in-a-lifetime opportunity for buyers, which is why it warrants the “rare” classification.

 

Do we know how long Vuitton made the Explorer line? Do we know how many sizes of trunk were offered in brass? Our understanding is that this special line of trunks was only produced in the late 1880s and 1890s. The materials used were highly expensive and difficult to work with at that time–this was long before the technological advances of today that have made brass a common material. There were three or four different sizes and models in the Explorer line, as well as some custom pieces, but it’s difficult to know which were produced in brass, as the production of all versions was extremely low, and very few remain.

 

Was the brass finish the most popular of the four? It depends if you mean at the time or today. At the time, these pieces were highly utilitarian. The metals being used were designed for adventurers traveling to the most exotic locations who required light-weight and waterproofing–at any cost. Today, arguably, the brass version is the most popular as it is the most eye-catching because of its gold color.

 

Do we have a notion of how many brass-finish Explorer trunks survive? Also, how many have you handled at Christie’s Hong Kong? This is the first brass version at international auction, so very few still survive. A handful of others remain in private hands, but this is the first of this size and model that we have seen.

 

Is it fair to assume that when this trunk was originally purchased, it was part of a suite or group of matching Vuitton luggage? If so, how often do you find that suites of Vuitton luggage are broken up over time? It is unlikely that an adventurer would have only needed one trunk, so it is likely that it was originally part of a set. Over time, we often see these collections broken up due to their size–they are difficult to store. In addition, now that most travelers do not use hard-sided luggage. They may only need a handful for interior decoration, not a whole collection.

 

What is your favorite detail on this trunk, and how does that detail speak to the craftsmanship of Louis Vuitton? My favorite thing about this trunk is certainly the brass paneling–this is what makes the piece truly stand out. But, one detail on this trunk that I really love is the interior Louis Vuitton logo with the serial number written in beautiful script. The last number –“1”– is a bit smudged and makes you imagine the craftsman who oversaw the creation of this incredible piece.

 

What do we know about how this trunk would have been made? Also, was this off the rack, or was it custom? The trunk would have been too expensive to have been produced without a client. It almost certainly would have been ordered by one of the most prominent adventurers of the day. It would have been made entirely by hand.

 

What do we know about the provenance of this trunk? Do we know anything about where and when it might have traveled over its lifetime? The trunk has changed hands a few times in its long life. As is often the case, at some point the trunk was forgotten about and re-discovered by a discerning buyer. It is currently being sold by a private collector.

 

Could you talk a bit about how the buyer would have used it–what sorts of things they would have put in it, and where would they have taken it? These trunks were produced only for the top explorers of the day who had the ambition and the means to adventure to the furthest corners of the earth. At the time, and the reason Louis Vuitton became as well-known and respected as it did, was because of its many technological advancements–the flat-topped trunk for easy stacking, special clasps, etc. This particular model, because of its small size, would have likely held its owner’s valuables and personal items. The trunk would have likely stayed with or near its owner.

 

What condition is it in? How original is it? What issues do you tend to see with brass-finished Explorer trunks, and does this one show any signs of having those issues? This trunk underwent a full restoration in 2015, so it looks quite like it would have in the 1800s. Over time, brass trunks can darken and become tarnished and oxidized. There are only a handful of restorers in the world who know how to handle these trunks – these restorations are extensive and timely, sometimes taking 100+ hours.

 

Are there signs of wear that can enhance the value of a vintage Vuitton trunk? When buying a vintage trunk, buyers want them to be “travelled”–if they wanted a brand new one, they would get it at Louis Vuitton! We love to see dings, dents, and scrapes that show the piece was really used. This mystery lets us imagine to what exotic locations the trunk may have travelled and who the explorer was who owned it.

 

How much does it weigh? The trunk is nearly as light as the more-common canvas version. The metal is quite thin and designed to protect the wooden architecture of the trunk from moisture and insects of exotic and humid locations.

 

The lot notes say it dates to 1888. How do we know this for sure? We were able to narrow the production to just a few years based on the material and model, and Louis Vuitton confirmed that a brass trunk with this serial number was sold in 1888.

 

The lot notes say it has a key. Would it be the original key? If so, how rare is it for a Vuitton trunk of this type to survive with its original key? Most trunk owners know to keep their keys safe–but after 131 years, you can imagine they might get lost. 20th century trunks often have their original keys, but it is quite rare for one of this age. The key with this trunk is a replacement.

 

How have you seen the market for Louis Vuitton vintage luggage change over time? Was there ever a point when something like this would just have been an old trunk, or were these Vuitton pieces always kept, valued, and collected? The market for Louis Vuitton trunks has been steadily growing for the last 20 to 30 years. People began to use them for interiors and collect them due to their mysterious histories around that time, which is why the value began to increase. A large canvas steamer with interesting travel stickers and markings can be very valuable.

 

What is the world auction record for a vintage Louis Vuitton trunk, and what is the record for a piece from the Vuitton Explorer line? The world record and the Explorer line record is the aluminum Explorer Trunk sold for £162,500 [about $205,000] in London last December. Although aluminum was equally rare to brass, the aesthetics of this one make it stand out–and a potential record-breaker. [Christie’s also did a 5 Minutes With… piece about the aluminum trunk ahead of its sale, which you can read here.]

 

How do modern collectors of vintage Vuitton luggage use their pieces? Or do they treat them as functional art? They are now most often used as interior decoration by collectors of rare art and sculptures, or by collectors of travel and trunks.

 

What is the trunk like in person? Are there aspects of it that don’t quite come through in the photographs? The brass itself is what makes this piece so precious and that is difficult to capture in an image. It is a bright, true gold color that is extremely eye-catching. The patina around the edges and the wooden trim give it an amazing vintage look and feel as well.

 

Why will this piece stick in your memory? This trunk is unforgettable–none of us will see one like it again.

 

How to bid: The 1888 Louis Vuitton brass explorer trunk is lot 3888 in the Handbags & Accessories auction at Christie’s Hong Kong on May 29, 2019.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Christie’s is on Twitter and Instagram. 

 

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

 

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

Meow! Edward Gorey’s Original “Cat Fancy” Cover Illustration for “The New Yorker” Magazine Could Sell for $15,000 at Swann

M39836-1 001

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.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Swann Auction Galleries is on Instagram and Twitter.

 

Text is copyright Sheila Gibson Stoodley. 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.

 

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

 

 

Will “White Hen with Chickens”, the Leader of a Flock of Ben Austrian Paintings at Freeman’s, Achieve $10,000?

Lot48

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.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Freeman’s is on Twitter and Instagram as well.

 

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

 

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

SOLD! Christie’s Sold a Striking Rediscovered 1920s Roberto Montenegro Painting For (Scroll Down to See)

Montenegro_Untitled

Update: Roberto Montenegro’s Untitled (Tehuanas in Traditional Huipil Grande Headdresses) sold for $81,250.

 

What you see: Untitled (Tehuanas in Traditional Huipil Grande Headdresses), painted in the 1920s by Roberto Montenegro. Christie’s estimates it at $70,000 to $90,000.

 

The expert: Virgilio Garza, head of Latin American art for Christie’s.

 

How prolific was Montenegro? He was very prolific. He worked for five decades. He continued to paint into his sixties. He died in 1968.

 

Why hasn’t he received the scholarly attention that some of his peers have gotten? He’s a very well-known artist, and he’s always included in surveys of Mexican art. The market likes him. What’s missing is a volume that captures the depth of his career and really studies his accomplishments.

 

How do we know that he painted this sometime in the 1920s? It’s not dated, but stylistically, it’s related to a Montenegro painting of Maya women that the Museum of Modern Art (MoMA) owns, and that dates to 1926.

 

When–on what occasions–do Tehuanas [women native to the Tehuantepec area of Mexico] don this distinctive ceremonial garb? Weddings and funerals? To me, in this particular painting, because they’re holding flowers and almost appear to be compressed in a tight space, almost stacked against each other, it appears to be a processsion. Their demeanor is serious. It’s more an expression of reverence. The faces are not laughing or smiling. Do you remember the Diego Rivera painting from the Rockefeller collection? That picture was Tehuanas too. That’s a feast, a very different atmosphere, celebrating. This seems to be a little more serious. A religious offering, maybe a funeral, but we can’t tell.

 

What is mexicanidad, and how is it reflected in this painting? It’s a term that refers to putting elements of Mexican culture in the forefront of a painting or an artistic expression. A lot of artists reflect mexicanidad in different ways. Frida Kahlo was a master of mexicanidad. Everything she did or said or wrote deeply embraced her Mexican identity. She took it to another level in dress and in how she expressed herself.

 

The lot notes say that Montenegro traveled in Europe almost continually from 1905 to 1920, looking at historic and contemporary European art. Do we know how soon he painted this after he returned to Mexico? I wish we could, but sadly, no. His sister [who owned the painting] has passed away. She would have known.

 

This looks really Cubist to me. Do we know if he looked at Cubist works during his travels? I think he had seen avant-garde art in Europe, like Diego Rivera had. Montenegro obviously knew the work of other artists like Rivera, who had a Cubist period.

 

Is this the first time he plays with the geometric potential of these Tehuana outfits? I think Diego did it too. What’s different about this treatment in this particular painting–it’s very graphic, very frontal. It seems to confront the viewer. That’s what’s attractive about the painting. And it’s very sculptural.

 

Sculptural? Is the paint piled up on the surface of the canvas? No, no, the painting is flat. When I say sculptural, the shapes almost appear to be 3-D in the way that Montenegro overlaps the headdresses with the faces in the back. There’s a sense of transparency, almost.

 

Are his other depictions of Tehuanas this geometric? No, they’re not. If you look at his murals, the Tejuanas are soft and others don’t have headdresses. I think this is one of the few that do.

 

Do we know anything about his working style? Did he pose models for this, or take reference photos, or did he imagine this scene? I think these women are archetypes.

 

From memory? Yeah, from memory.

 

Why is this painting so effective? I think it’s very striking. Part of that is you’re looking at this very frontally. It’s almost them looking at you rather than you looking at them.

 

Is this typical or atypical of his work? I think it’s an outlier. He used a lot of Mexican motifs, but it’s an outlier in the way the picture is constructed.

 

What is the painting like in person? What’s interesting about the painting is it’s very tight. It’s effective in that you feel this is a group of women in a small procession. They’re very strategically placed in the picture plane, but they have their own personalities.

 

How often do Montenegros appear at auction? Normally there’s one every season. They don’t circulate too much. He’s not an artist people are trading constantly. When collectors find a Montenegro, they tend to keep it for generations.

 

From the looks of the lot notes, this has never been to auction before–correct? No, never.

 

How rare is it to have a Montenegro that’s fresh to market? Every two years, there’s a surprise. This was a total surprise. We didn’t know about the picture until [the heirs] contacted us. It was owned by his sister. She lived in California. Montenegro gave it to her on one of his trips to visit, and it’s been in the family all these years. I don’t know if it’s been published. It’s really the first time it’s been seen. It’s really great. It’s one of my favorite things in the sale.

 

What condition is it in? Very good shape. We cleaned it superficially, but it’s in great shape.

 

What’s the auction record for a Montenegro? It was set at Christie’s. It was one of his self-portraits in a sphere, from 1955. It sold in 2017 for $187,500.

 

So this could set a new record for the artist, maybe. Let’s just say it’s conceivable.

 

Why will this painting stick in your memory? It is a memorable painting. It’s very graphic. And it’s lovely in the flesh, really, really lovely. Sometimes, if you’re lucky, you get a rediscovered artwork. This example has never been seen or published in color. Now the image is out there, and people can refer to it. We love to sell things, and we love to contribute to the understanding of an artist by presenting something that’s so good and special.

 

How to bid: Untitled (Tehuanas in Traditional Huipil Grande Headdresses) is lot 13 in the Latin American Art sale taking place at Christie’s New York on May 22 and 23, 2019.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Christie’s is on Twitter and Instagram. 

 

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

 

Virgilio Garza has appeared twice before on The Hot Bid, speaking about a record-setting Diego Rivera painting from the Rockefeller family and a Fernando Botero circus painting.

 

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

Bold as Brass: Christie’s Hong Kong Could Sell A Gorgeous 1888 Brass Louis Vuitton Trunk for $192,000

59925507-A

What you see: A rare Louis Vuitton brass Explorer trunk, dating to 1888. Christie’s estimates it at HKD $1 million to $1.5 million, or $128,000 to $192,000.

 

The expert: Winsy Tsang, vice president and head of sale, handbags and accessories, Christie’s Asia Pacific.

 

This trunk is described as “rare.” What does that mean in this context? Do we know how many brass Explorer trunks of this size that Louis Vuitton made in the 19th century? We don’t know exactly how many were made. All we know is that we haven’t seen another one like this on the market, and only very few in other sizes and models. This is, potentially, a once-in-a-lifetime opportunity for buyers, which is why it warrants the “rare” classification.

 

Do we know how long Vuitton made the Explorer line? Do we know how many sizes of trunk were offered in brass? Our understanding is that this special line of trunks was only produced in the late 1880s and 1890s. The materials used were highly expensive and difficult to work with at that time–this was long before the technological advances of today that have made brass a common material. There were three or four different sizes and models in the Explorer line, as well as some custom pieces, but it’s difficult to know which were produced in brass, as the production of all versions was extremely low, and very few remain.

 

Was the brass finish the most popular of the four? It depends if you mean at the time or today. At the time, these pieces were highly utilitarian. The metals being used were designed for adventurers traveling to the most exotic locations who required light-weight and waterproofing–at any cost. Today, arguably, the brass version is the most popular as it is the most eye-catching because of its gold color.

 

Do we have a notion of how many brass-finish Explorer trunks survive? Also, how many have you handled at Christie’s Hong Kong? This is the first brass version at international auction, so very few still survive. A handful of others remain in private hands, but this is the first of this size and model that we have seen.

 

Is it fair to assume that when this trunk was originally purchased, it was part of a suite or group of matching Vuitton luggage? If so, how often do you find that suites of Vuitton luggage are broken up over time? It is unlikely that an adventurer would have only needed one trunk, so it is likely that it was originally part of a set. Over time, we often see these collections broken up due to their size–they are difficult to store. In addition, now that most travelers do not use hard-sided luggage. They may only need a handful for interior decoration, not a whole collection.

 

What is your favorite detail on this trunk, and how does that detail speak to the craftsmanship of Louis Vuitton? My favorite thing about this trunk is certainly the brass paneling–this is what makes the piece truly stand out. But, one detail on this trunk that I really love is the interior Louis Vuitton logo with the serial number written in beautiful script. The last number –“1”– is a bit smudged and makes you imagine the craftsman who oversaw the creation of this incredible piece.

 

What do we know about how this trunk would have been made? Also, was this off the rack, or was it custom? The trunk would have been too expensive to have been produced without a client. It almost certainly would have been ordered by one of the most prominent adventurers of the day. It would have been made entirely by hand.

 

What do we know about the provenance of this trunk? Do we know anything about where and when it might have traveled over its lifetime? The trunk has changed hands a few times in its long life. As is often the case, at some point the trunk was forgotten about and re-discovered by a discerning buyer. It is currently being sold by a private collector.

 

Could you talk a bit about how the buyer would have used it–what sorts of things they would have put in it, and where would they have taken it? These trunks were produced only for the top explorers of the day who had the ambition and the means to adventure to the furthest corners of the earth. At the time, and the reason Louis Vuitton became as well-known and respected as it did, was because of its many technological advancements–the flat-topped trunk for easy stacking, special clasps, etc. This particular model, because of its small size, would have likely held its owner’s valuables and personal items. The trunk would have likely stayed with or near its owner.

 

What condition is it in? How original is it? What issues do you tend to see with brass-finished Explorer trunks, and does this one show any signs of having those issues? This trunk underwent a full restoration in 2015, so it looks quite like it would have in the 1800s. Over time, brass trunks can darken and become tarnished and oxidized. There are only a handful of restorers in the world who know how to handle these trunks – these restorations are extensive and timely, sometimes taking 100+ hours.

 

Are there signs of wear that can enhance the value of a vintage Vuitton trunk? When buying a vintage trunk, buyers want them to be “travelled”–if they wanted a brand new one, they would get it at Louis Vuitton! We love to see dings, dents, and scrapes that show the piece was really used. This mystery lets us imagine to what exotic locations the trunk may have travelled and who the explorer was who owned it.

 

How much does it weigh? The trunk is nearly as light as the more-common canvas version. The metal is quite thin and designed to protect the wooden architecture of the trunk from moisture and insects of exotic and humid locations.

 

The lot notes say it dates to 1888. How do we know this for sure? We were able to narrow the production to just a few years based on the material and model, and Louis Vuitton confirmed that a brass trunk with this serial number was sold in 1888.

 

The lot notes say it has a key. Would it be the original key? If so, how rare is it for a Vuitton trunk of this type to survive with its original key? Most trunk owners know to keep their keys safe–but after 131 years, you can imagine they might get lost. 20th century trunks often have their original keys, but it is quite rare for one of this age. The key with this trunk is a replacement.

 

How have you seen the market for Louis Vuitton vintage luggage change over time? Was there ever a point when something like this would just have been an old trunk, or were these Vuitton pieces always kept, valued, and collected? The market for Louis Vuitton trunks has been steadily growing for the last 20 to 30 years. People began to use them for interiors and collect them due to their mysterious histories around that time, which is why the value began to increase. A large canvas steamer with interesting travel stickers and markings can be very valuable.

 

What is the world auction record for a vintage Louis Vuitton trunk, and what is the record for a piece from the Vuitton Explorer line? The world record and the Explorer line record is the aluminum Explorer Trunk sold for £162,500 [about $205,000] in London last December. Although aluminum was equally rare to brass, the aesthetics of this one make it stand out–and a potential record-breaker. [Christie’s also did a 5 Minutes With… piece about the aluminum trunk ahead of its sale, which you can read here.]

 

How do modern collectors of vintage Vuitton luggage use their pieces? Or do they treat them as functional art? They are now most often used as interior decoration by collectors of rare art and sculptures, or by collectors of travel and trunks.

 

What is the trunk like in person? Are there aspects of it that don’t quite come through in the photographs? The brass itself is what makes this piece so precious and that is difficult to capture in an image. It is a bright, true gold color that is extremely eye-catching. The patina around the edges and the wooden trim give it an amazing vintage look and feel as well.

 

Why will this piece stick in your memory? This trunk is unforgettable–none of us will see one like it again.

 

How to bid: The 1888 Louis Vuitton brass explorer trunk is lot 3888 in the Handbags & Accessories auction at Christie’s Hong Kong on May 29, 2019.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Christie’s is on Twitter and Instagram. 

 

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

 

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