SOLD! Man Ray’s 1938 London Transport Poster Fetched the Way Out Price of $149,000 at Swann

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Update: The Man Ray 1938 London Underground poster did indeed sell for a way out price–$149,000.

 

What you see: A 1938 London Transport poster designed by Man Ray. Swann Galleries estimates it at $80,000 to $120,000.

 

Who was Man Ray? Born in Philadelphia, Pennsylvania in 1890 as Emmanuel Radnitsky,  Man Ray was vital to the Dada and Surrealist movements of the early 20th century. He was wildly creative in several media, especially photography and film-making. His art appeared in the first Surrealist exhibition in Paris in 1925, alongside that of Pablo Picasso, Jean Arp, and Max Ernst. Man Ray befriended Marcel Duchamp and worked with him often. He died in Paris in 1976 at the age of 86.

 

The expert: Nicholas Lowry, director of Swann Galleries.

 

How was Man Ray chosen for this London Transport poster commission? Hard to say exactly. Man Ray was living in Paris at the time. One school of thought is he went through London on his way back to the United States because of the war, but he may have designed the poster earlier than that, in 1936. He was chosen because Frank Pick, the head of London Transport advertising, was a real visionary. He employed a lot of fabulous artists and he pushed the envelope. He worked with László Moholy-Nagy, and probably through those connections, Pick became acquainted with Man Ray.

 

This looks like it’s one poster of a set of two. The second has the same image and asymmetric border structure. It’s meant to be a pair. This one says “Keeps London Going.” The other says “London Transport.

 

Does the other poster survive? It survives, but to the best of my knowledge, none have ever come up for public auction.

 

Apparently the design of the poster recalls Man Ray’s rayographs? A rayograph was Man Ray’s personal spin on the photogram. Objects are placed on paper, light is turned on, and shapes are left on the paper. The poster is more nuanced than a rayograph, which would not have had shades of gray.

 

And people enjoy debating what the poster might mean? A lot have surmised what it could mean, but to my mind, it’s pretty straightforward. My interpretation is, basically, he’s comparing the London Transport system to the solar system. The image at the top is the London Transport logo, which is called a roundel. On the bottom is Saturn. The way the planets move around the solar system is the way that London Transport moves you around London.

 

The lot notes call this poster ‘rare.’ I was under the impression it was unique? Unique means one of a kind. Salvator Mundi is unique. It’s an original work of art. Posters are never unique. Between 1,000 and 2,000 [copies of the Man Ray poster] were printed.

 

How often has the Man Ray London Transport poster been offered at auction? There are four auction records since 1994. One sold at Sotheby’s, and the other three sold at Christie’s. I think we have the one that Christie’s sold in 1994 for $39,800. The high-water mark was in June 2007 at Christie’s, when one sold for $100,906.

 

How much of that $100,906 auction record for a London Transport poster was driven by the fact that Man Ray designed the poster? I think it’s almost entirely [driven by Man Ray]. No other London Transport poster has commanded that kind of money. The qualities of a poster that make it valuable are image, artist, condition, and rarity, not necessarily in that order. László Moholy-Nagy is a super-famous artist. We have a poster he designed as lot 75 in this sale–

 

…I got the impression that Moholy-Nagy’s London Transport posters weren’t all that spectacular. The consensus [on lot 75, which is for Imperial Airways] is it’s a rare poster, but not that great an image. Here [with the Man Ray] you have a famous artist and an extraordinary image. He put all his technique and his creativity into the design. It’s rare, and its condition is fine.

 

If you lined up the ten best London Transport posters and asked me to pick the one that holds the world auction record, I doubt I’d pick the Man Ray because it’s black and white, and I think of great posters as being colorful… That’s a slight misconception on your part. You’re right, great posters have great color, but great posters are supposed to catch your eye, and there’s no methodology on how to do that. This catches your eye. The imagery makes you think about what’s going on. It’s a good advertisement because it makes you think. And it might have stood out [in its time] because it was black and white.

 

Why will this poster stick in your memory? Because for many years, it was the most expensive travel poster ever sold. That travel poster record was beaten by us in 2012 when we sold an A.M. Cassandre poster for British Rail for $162,500. In the poster world, you deal in $5,000, $10,000, $15,000 posters. It’s wonderful, out of this world, that it [the Man Ray London Transport poster] would sell for $100,000. From that point of view, it sticks in my mind as exceptional.

 

How to bid: The Keeps London Going poster is lot 76 in the Graphic Design sale at Swann Galleries on May 3, 2018.

 

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 Galleries is on Instagram and Twitter, and Nicholas Lowry is on Instagram and Twitter as well.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Swann Auction Galleries.

 

Nicholas Lowry has appeared several times on The Hot Bid. Read past entries in which he  talks about a trio of Mont Blanc posters from 1928, a mid-1930s German travel poster featuring the Hindenburg, a 1968 MoMA poster by Japanese artist Tadanori Yokoo, an I Want You 1917 World War I recruiting poster that introduced the modern concept of Uncle Sam, and an Alphonse Mucha poster featuring Sarah Bernhardt.

 

In case you missed it above, the London Transport Museum has the other poster from the pair in its online collection, and it includes a link to a period photo of the posters on display outside St. Paul’s station in London.

 

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YES! Bertoia Auctions Sold the Tremendous Mike Japanese Robot Toy for $11,000

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Update: Bertoia Auctions sold the Tremendous Mike robot toy with box for $11,000.

 

What you see: A Tremendous Mike robot toy, with original box. Bertoia Auctions estimates it at $6,000 to $9,000.

 

The expert: Auctioneer Michael Bertoia of Bertoia Auctions in Vineland, New Jersey.

 

Why was this robot toy called Tremendous Mike? Lots of Japanese toys used goofy names. There was Magnificent Mike, a few different Mikes, a few American names. Arguably, it was made for the American market–that’s why the language on the box is in English.

 

Do we know how many Tremendous Mike toys were made, and how many survive? We can’t even take a guess at how many were made. How many are around–that’s easier to take a stab at. I know of at least a dozen in circulation, and that doesn’t include those that are tied up in collections. It’s important to note that what makes the difference between being worth $2,000 or $3,000 versus being worth $10,000, what makes it swing, is its condition, if it has its box, and if the original antenna is still on the top of its head. This guy is fresh, in stellar condition. That’s why it’s so valuable. It might even be old store stock.

 

And the fact that the original box survives too–does that point to it possibly being old store stock? Exactly. What’s helpful on this box compared to other toy boxes are the graphics. Its a pretty, colorful box. The artwork is not just a sticker on the front of the box. It’s on the sides, too.

 

How rare is it to see a Tremendous Mike with its original box? In the last decade, I’ve only seen a few box examples. In general, a robot with its box is harder to come by than a loose example. I know of one Tremendous Mike with box offered through an auction. There was one on eBay a few years ago as well. Those are the only two aside from this one. That said, there’s a little more than a handful of these robot toys without their boxes that have surfaced in the last few years.

 

What’s the condition of the box? Does its condition matter, given how rare it is for a box to survive at all? In the high-dollar collectors’ market, every scratch matters. The condition of all the pieces and parts are relevant. This box is in really impressive condition. It has a little tear on a flap. The robot is in better shape than the box. The toy doesn’t look like it’s had much play.

 

How did the toy and its box survive in such good condition? I often joke that maybe a really bad child had it, because it wasn’t played with often. It’s possible that the robot had several homes throughout its life. It’s hard to believe it would survive years of children playing with it. Maybe the child had a lot of toys and didn’t play with this one much. Often when you see a toy this crisp, and the box is complete, not folded or crushed, that’s an assumption that can be made.

 

Tremendous Mike is a wind-up toy. What does he do when you turn his key? The wind-up mechanism is pretty cool. Tremendous Mike had action–he was not a simple forward-and-back moving toy. The red glass window in his chest sparkles as he rolls. The satellite dish on his head spins and changes direction after he rolls for a certain distance.

 

Tremendous Mike came in two body colors–red-orange, and grey. Are they equally desirable, or do collectors like one color more than the other? They have the same red accents on both. Red pops a lot more strongly off the grey. It’s a better visual than the red-orange.

 

How many times has Bertoia handled a Tremendous Mike? This is the first time in a decade.

 

What’s the auction record for a Tremendous Mike with box? It belongs to a red-orange version of the toy sold by Morphy’s in May 2015 that commanded $13,200. (Scroll down to see it.)

 

Could this Tremendous Mike with box beat the auction record, do you think? It certainly could. It certainly deserves it. The underbidder [at the Morphy’s 2015 auction] would be satisfied to acquire this example. It’ll take two to make the numbers.

 

Why will this toy stick in your memory? Other than my appreciation of the fine name of Mike, it’s very seldom, given the quantity and volumes of toys we handle on a regular basis, that we have to look at one for a long time and research it. If it stumps us, it stands out, because it’s a challenge. I appreciate the challenge. I like to be stumped.

 

How to bid: The Tremendous Mike with original box is lot 0050 in Bertoia‘s Signature Sale on April 27 and 28, 2018.

 

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

 

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SOLD! A Striking Craniometer, Maybe the Only Surviving Example of Its Type, Commands $12,300 at Skinner–More Than Double Its High Estimate

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Update: The late 19th century lacquered brass craniometer sold for $12,300–more than double its high estimate.

 

What you see: A lacquered brass craniometer, made in the late 19th century by the German company C.F.H. Heineman. Skinner estimates it at $4,000 to $6,000.

 

The expert: Jonathan Dowling, a specialist in the clocks, watches, and scientific instruments department at Skinner.

 

What’s a craniometer, and how was it used? As it looks, it was to measure skulls. In the 18th and 19th centuries, it was once believed that the shape and size of the skull indicated knowledge. The belief was called craniology. It was a pseudoscience along the lines of phrenology. The craniometer tried to measure each little undulation in a skull. That’s why there’s so many of those spikes. They measure a quarter of an inch to three-quarters of an inch.

 

Craniology imputed moral character to the size of the skull? That’s a good way of putting it. A bigger skull was considered a better skull.

 

This tool was made in Germany. Was craniology most popular in Germany? I would not say that. Braunschweig, Germany was a well-known area for producing medical instruments. This might be the only surviving example. Many think there was a very limited run because of the quality.

 

Are the parts of the craniometer labeled in German? No.

 

So we don’t know what qualities the craniometer was supposed to measure? It is a mystery. It all depends on where you chose to put the skull.

 

Why does the craniometer look like this? Why are the pins the length that they are? I think the pins are of this length to accommodate different sizes of skull. And you have to have a skull. You could not put a person in this.

 

Does the skull rotate or spin within the brass rings? The skull itself does not rotate. But the brass column can be turned manually, 360 degrees.

 

How were craniometer measurements taken? Around both spheres, there are numerical engravings. Let’s say you’re using the pin through number 17. You measure, you mark, you pull out the pin, and that gives you a measurement for where the pin falls on the skull for number 17. Number 17 is some sort of moral aspect.

 

Are you auctioning it with or without a skull? The skull is for display. It’s a real skull, a human skull. It is part of the lot.

 

How many pins are there? I think there are 40 pins. Down below the turned column, on the brass plate mounted in the ebony base, there are holes to hold the pins.

 

What are the tips of the pins made from? Bone. Turned bone.

 

Why? That’s not an obvious choice. I think it’s where the quality of the piece surpasses the average piece. The quality of it takes it to a different level.

 

Have you seen other craniometers? How do they measure up to this one? I haven’t seen others in person, but I have seen them in my research. They’re very crude. They’re less intricate, less detail-oriented. With this one, the tolerances are so tight where the pins go through the uprights–that’s a mark of quality. The castings of the rings are very well done also.

 

Can we tell if it was made for someone in private practice, or as a teaching model? We cannot tell. In my research, I was not able to find the purpose for this. I don’t know if it’s for a doctor or a teaching tool.

 

How did the craniometer come to you? This, along with several of the lots in the sale–a few phrenology heads, a medical teaching model–came from a private collector in Massachusetts.

 

Why will this craniometer stick in your memory? The sculptural quality. That’s how I look at it. As a craftsman myself, the quality of the instrument says something to me. I don’t know if I’ll ever handle another piece like this.

 

How to bid: The craniometer is lot 560 in the Clocks, Watches & Scientific Instruments sale at Skinner on April 20, 2018.

 

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You can follow Skinner on Twitter and Instagram.

 

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

 

Jonathan Dowling spoke to The Hot Bid in 2017 about a unique mid-century model airplane that ultimately sold for $11,070 at Skinner.

 

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Wow! Heritage Sold a 1964 Fender Stratocaster Destroyed On Stage by Pete Townshend for $30,000

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Update: The 1964 sonic blue Fender Stratocaster smashed on stage by Pete Townshend sold for $30,000.

 

What you see: A 1964 sonic blue Fender Stratocaster “smasher,”–a guitar played on stage and smashed by Pete Townshend of The Who–on December 1, 1967 at Long Island Arena in Commack, New York. Heritage Auctions estimates it at $15,000 to $20,000.

 

Who is Pete Townshend? He’s the lead guitarist and lead songwriter for the legendary British rock band, The Who, which played its first concert in 1964. Townshend also first smashed a guitar on stage in that year. The band’s hits include My Generation, Baba O’Riley, Won’t Get Fooled Again, Magic Bus, and Pinball Wizard, a song from the 1969 rock opera, Tommy. Townshend will turn 73 in May 2018.

 

How rare are genuine stage-played 1960s-era smashed Pete Townshend guitars? “Very rare,” says Garry Shrum, director of entertainment and music memorabilia for Heritage Auctions. “Usually Pete smashed a guitar until it was in shreds. I know a couple of collectors who own multiple stage-played guitars. I know one guy who bought several smashers to make one whole guitar–he Frankensteined it together. But it’s very rare to find one from the 1960s. People didn’t keep them. If it was in the crowd, it was a dive-fest. People wanted a piece of that guitar.”

 

How many Townshend smashers have you handled? “Two, and I’ve been at Heritage for 14 years,” he says. “Before that, I had a shop for 30 years. People brought in smashers to share with me, but they wouldn’t let me buy them off them.”

 

Has anyone tried to document how many times Townshend smashed a guitar on stage? “There’s got to be something, somewhere. Someone might have tried to document it, but I have not seen it,” he says. “I wish I had the answer, but I don’t. But he smashed guitars hundreds of times.” [After we spoke, I found a heroic stab at a list on thewho.net. Scroll down for the link.]

 

I was going to ask if this smasher was worth less because it isn’t complete, but hearing you speak, I get the impression that it’s unusually complete. “Exactly. You have to get the neck and some pickups to make it complete, but you generally don’t get that chance at all,” he says. “It’s a great piece of music history. Over the years, other people have broken guitars on stage, but it was all spawned by Pete in the ’60s.”

 

Townshend smashed hundreds of guitars on stage? Didn’t that get expensive after a while? “In the early years, he used cheaper guitars, but it got expensive,” he says, noting that Fenders “were imported to the U.K., and the pound versus dollar exchange made it more expensive for him. Probably £400 to £700 for a guitar every time he picked one up.”

 

This smasher doesn’t have a neck, but it does have its neck plate, which contains the guitar’s serial number. Does that help prove that Townshend played it and smashed it on stage? “In most cases, you don’t see the neck plate. You see half of a guitar. Once he started breaking it, the plate went because of the neck,” he says. “Pete would throw the whole thing into the crowd, and people would rip it to pieces. Somebody got the plate, somebody got the pickups, somebody got the headstock, somebody got the strings. The neck plate helps date it. It’s a stronger provenance of the time period. But there’s no way to trace it back [to Townshend]. After two or three years, music stores threw out their paper receipts. There was no reason for them to keep them. Guitar-collecting didn’t get serious until the mid-1970s.”

 

Is it rare for a smasher to have accompanying documents, as this one does? [It comes with a ticket stub from the December 1, 1967 show and a two-page handwritten account of how the original owner caught it.] “That’s rare, and that’s so cool, because we can date it,” he says. “A lot of times it’s a hearsay story. When you have other pieces of paper, a paper trail, it’s more exciting to talk about. You can close your eyes and picture the whole thing happening.”

 

Are Townshend smashers worth more than stage-played guitars that he didn’t smash? “No. An original 1964 Fender Stratocaster is worth money on its own, without a Pete Townshend provenance,” he says. “They sell for $16,000 to $20,000, depending on condition. If Pete played it during that period, it’s easily over $100,000. This is broken. We hope it’s worth $15,000 to $20,000, maybe more. All it takes is two people to push it up.”

 

What’s the auction record for a Townshend smasher? Is it higher than the record for an intact Townshend-played guitar? The auction record for a smasher as well as an intact guitar appears to belong to a lot sold at Bonhams London, Knightsbridge in December 2015. It contained a pair of Rickenbachers–one whole and one destroyed on stage during The Who’s 25th anniversary tour in 1989, along with a signed November 2014 statement from Townshend about them both. The lot sold for £52,500, or $73,934.

 

You set the opening bid for this guitar at $10,000. Why? “The consigner hopes to get at least $10,000,” he says. “We wanted it in the auction because it was such a cool, rare piece. You can’t go on eBay and find it. That’s not gonna happen.”

 

Why will this Townshend smasher stick in your memory? “I have certain bands I admire. I had a shop, and I had the advantage of going backstage to meet people,” he says. “In 1970, I hung out with The Who on the fifth floor of the Hilton San Diego. My wife was 17, and I was 18. It was one of those time periods when I thought, ‘Is this really happening? I’ve spent three hours talking about music with John Entwhistle.’ Keith Moon was doing crazy stuff. Pete and Roger didn’t stick around. They had girls. Anything from The Who that comes in makes me think about the time I spent then. It’s part of my history with music, and with the band itself.”

 

How to bid: The Pete Townshend Fender Stratocaster smasher is lot #89636 in Heritage Auctions‘s Entertainment & Music Memorabilia Signature Auction on April 15, 2018.

 

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Heritage Auctions is on Twitter and Instagram.

 

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

 

By clicking through to the lot, you can also see a photograph of Townsend playing the guitar in classic windmill style on stage, as well as images of the handwritten account of the December 1967 concert.

 

The folks behind thewho.net have assembled a list of guitars that Pete Townshend smashed over the years. The guitar being auctioned at Heritage is included.

 

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SOLD! The Original Owner Paid 10 Cents for Batman’s 1939 Comic Book Debut. Hake’s Sold It for Almost $570,000

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Update: The May 1939 copy of Detective Comics #27, featuring the debut of Batman and holding a CGC universal grade of 5.0, sold for $569,273.61.

 

What you see: A May 1939 copy of Detective Comics #27, which featured the debut of Batman. It has a Certified Guaranty Company (CGC) universal grade of 5.0. Hake’s Americana & Collectibles estimates the comic book’s value in excess of $500,000.

 

How often do copies of Detective Comics #27 come to auction? “Not often. The caveat is this is universal grade. It’s in its original state–no restoration, no conservation. When you factor that in, it appears even less often,” says Alex Winter, President of Hake’s Americana & Collectibles. “Most copies are not in the original state.”

 

How many copies of Detective Comics #27 have a CGC grade higher than 5.0? “The CGC census has a total of 67 copies. Only 32 are universal. All the others have restoration,” he says. “Of the universals, there are 16 rated higher and 15 rated lower. 5.0 is mid-grade, but with the universal label, it’s a high grade. 5.0 is very acceptable for a book of this age with no restoration.” He also adds, “Batman is rarer as far as graded universal copies, and Batman is certainly more popular in movies than Superman. I think it’s only a matter of time before Detective Comics #27 eclipses Action Comics #1 [Superman’s debut]. It’s a rarer book.”

 

But we should say–not every copy of Detective Comics #27 is reflected the CGC census– just those that were sent to CGC for grading. “Yes, but CGC is the top of the mountain,” he says. “It’s the preferred grading company.”

 

Why are comic books that feature the debut of a major character the most sought-after by collectors? “For the same reason that rookie cards are popular,” he says. “People gravitate to where a star started. Typically, with the debut of a character, they don’t have established track record, so the print run is lower,” he says, noting, “Batman didn’t appear in Detective Comics #1. Whatever worked got its own book. When the popularity was there, Batman got his own title.”

 

Batman is on the cover of Detective Comics #27, which has a banner announcing that his adventures are “starting this issue.” Would the comic book’s value be affected if Batman was not on the cover? “Not much at all,” he says. “There are character debuts that are not touted on the cover. It certainly helps, but it doesn’t have any bearing. It’d still be the first appearance of Batman even if Batman wasn’t on the cover. And it wasn’t like he was on the cover of the next issue. The issue was created months ahead of its appearance on the newsstand. The creators would see if something worked, and then they’d take the next step.”

 

How rare is it to have a comic book consigned almost directly from the person who bought it off the rack as a little kid, decades ago? “Pretty rare. It didn’t come directly from that person. There was one middle-man in between. But it’s still fresh to market,” he says. “To have a new discovery like this is a rare opportunity. People are fairly excited about that.”

 

Is the original owner still alive? How old was he when he bought this comic book? Yes, he is, and we’re not sure. “He certainly was a child when the book came out,” he says. “Maybe he was 10 years old.”

 

Why does the comic book have a 5.0 rating from CGC? “It has cover blemishes,” he says, pointing out the fact that the original owner wrote “Vol. 3 No. 3” at the top of the cover. “There’s a split on the spine, some dust, some soiling, some age. It’s what you’d expect of a book that’s been read several times. But it wasn’t rolled up, and it wasn’t put in his back pocket. The colors are strong and bold, with no fading.”

 

How did you arrive at the presale estimate of “in excess of $500,000”? “We have set price ranges,” he says, referring to the Overstreet Comic Book Price Guide. “But it’s very subjective, especially for a comic book that turns up as infrequently as this one. It’s a very, very volatile market when you have something like this, where there’s a lot of people lined up and not enough copies for those people.” This particular copy is the first Detective Comics #27 that Hake’s has handled in its 51 years of existence.

 

Why will this comic book stick in your memory? “Because it’s so historic,” Winter says. “This is right up there. It’s like a 1952 Topps Mickey Mantle baseball card. It’s an iconic item that transcends collecting. It’s easily identifiable as a piece of pop culture, and you don’t have to be a comic book fan or a Batman fan to appreciate it. It’s rewarding to have a high-caliber piece like this, and it’s exciting that it’s fresh to market.”

 

How to bid: The copy of Detective Comics #27 is item 1152 in the Hake’s Americana & Collectibles sale that opens on February 20, 2018 and closes on March 15, 2018.

 

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

 

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SOLD! The 1964 French Bride of Frankenstein Re-release Movie Poster, Estimated at $300 to $500, Commanded $250

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Update: The French movie poster for the 1964 re-release of Bride of Frankenstein sold for $250.

 

What you see: A French poster for the 1964 re-release of the 1935 classic horror movie Bride of Frankenstein. Julien’s Auctions estimates it at $300 to $500.

 

This Bride of Frankenstein poster was designed for the French market, and for a 1964 re-release of the film, which by then had a long reputation as a cinema classic. How does that affect the poster’s value? “Awareness of international designs is changing, and awareness of how scarce and rare they are is changing,” says consigner Neville Tuli, founder and chairman of the Osian group, which includes the Osianama Archives of world film memorabilia based in New Delhi, India. “I feel sad that the French design has not had its due. France is the home of posters. It’s difficult because the suppliers and distributors [of this re-release poster] didn’t keep archives in a historical manner.”

 

Some of the most expensive movie posters at auction have advertised 1930s horror movies. The world auction record belongs to a 1931 Dracula poster, sold in 2017 for more than $525,000, and 1930s horror movie posters have consistently fetched six-figure sums at auction. How might these strong sales influence the bidding for this French re-release poster? “Obviously, it will have a positive impact,” he says. “First releases of movie posters, you get them once in ten years, and they now sell for in excess of $300,000 and $400,000. Collectors are now looking for re-releases and posters from other countries.”

 

Why is this poster estimated at $300 to $500? “Everything is estimated very low, the way most auctions like to,” he says. “People like to think they’re getting a bargain. If it passes $3,000 to $4,000, that’s a fair price.”

 

Why are so many Bride of Frankenstein movie posters so visually strong? “The Bride of Frankenstein, even though she’s barely on the screen, captured the imagination of the world–the hairstyle, the whole look,” he says. “If you see post-1935 posters [for the movie], she’s given as much [visual] importance [as Frankenstein], sometimes even more. She has such a remarkable face. She naturally attracted the public when she appeared on publicity materials,” he says, noting that it was not just common but imperative for movie marketers to redesign and release new posters that capitalized on breakout stars. “If you see the original poster for Marilyn Monroe’s film, Asphalt Jungle,  she’s not there. [There are several poster designs for the 1950 film, and some show Monroe, but none showcase her.–Ed.] In the poster for the 1954 re-release, it’s all her. If the star captures the public’s imagination, they change the publicity material to give the star extra weight.”

 

Is there more than one version of this Bride of Frankenstein 1964 French re-release poster? “You always have four to six poster designs, but in this case, the main design is the same, and they just changed the color of the background,” he says. “I have another with a green background.”

 

How rare is this poster? “At auction, it rarely comes up,” he says. “For diehards who go searching [at public auction and in private sales], it comes up every six months. We’re talking about a handful.”

 

Was this poster on your shopping list for the Osianama Archives, or did it just pop up one day, and you grabbed it? “My shopping list is to build a history of world cinema,” he says. “My reasons for collecting are different from what collectors focus on. I’m building for a larger framework–India and the world, and India’s relationship to the world. I see the iconography [that Indian cultures] have created over 4,000 years, and it’s the greatest sci-fi and horror imagery you could imagine. I try to create understanding and show the links between Indian iconography and 100 years of cinema.”

 

Unlike earlier posters for the Bride of Frankenstein, Frankenstein and his bride are given the same visual weight here, and she seems to have a determined look on her face. Do you think that’s a deliberate statement by the designers, or is it just a matter of wanting to put a new spin on things? “Probably the story line got clearer by the 1960s,” he says. “Her scream led to his heartbreak, and the destruction of everything. I can’t say how the designers would have thought this up. I don’t know if it’s a feminine power statement or a statement of equality. But on the others, we don’t see the same equality. Here, they are equals on the poster. It’s open to conjecture.”

 

Why will this poster stick in your memory? “I have many different versions [of posters for the Bride of Frankenstein], and the French version has an austerity about it that’s unique,” he says. “So many versions of the Bride of Frankenstein show him carrying her in his arms, or show her in the laboratory. Here, there’s not much but magenta, black, and white. They pared it down to the essentials of the figures.”

 

Why are you selling this poster now? “Because I’m trying to become debt-free,” he says, laughing. “For 20 years, I tried to build a cultural network for the country without taking government funds or donations. I wanted to create it on its own terms. Financially, for the last five or six years, I’ve struggled with bank debt. I’m selling 500 pieces out of 200,000. I have to keep the integrity of everything else alive. I want to be debt-free. If I have to sell a few items to do that…”

 

You own an auction house. Why not use it to sell the 500 pieces? “There’s no interest in these things in India. The finest Indian movie poster can’t sell for $50 or $100,” he says. “We have a great love of cinema in India but not a great culture of cinema in India, and they are two different things.  It takes a long time for a cinematic culture to emerge, and it’s emerging, but there are so many steps and layers to creating it.”

 

How to bid: The La Fiancée de Frankenstein poster is lot 260 in the Osianama Archives auction scheduled for March 8, 2018 at Julien’s Auctions.

 

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.

 

Julien’s Auctions is on Twitter and Instagram.

 

Julien’s is conducting a second, online-only auction from the Osianama Archives that concludes on March 19, 2018.

 

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

 

Also see the website for Osianama, Tuli’s impressive, ambitious 18-year-old arts endeavor.

 

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TIE! Heritage Auctions Sold an Original Sunday Christmas-Themed Peanuts Strip from 1958 for $113,525, Tying the World Auction Record

Charles_Schulz_Peanuts_Sunday_Comic_Original_Art_(United Feature Syndica...

Update: Well, this doesn’t happen often. Heritage sold the original Sunday Peanuts comic strip from 1958 for $113,525–tying the record it set in 2007 for original Sunday Peanuts comic art.

What you see: An original Sunday Peanuts comic strip, drawn by Charles Schulz and dated 12-21-58. Heritage Auctions believes it could sell for $100,000 or more.

Who was Charles Schulz? The Minnesota-born Schulz is one of the most influential cartoonists ever. His comic strip, Peanuts, ran from October 2, 1950 until February 13, 2000 and featured the enduring characters of Charlie Brown and Snoopy, his pet beagle. At its peak, Peanuts appeared in more than 2,500 newspapers and reached more than 350 million readers in 75 countries. The 1965 animated television special A Charlie Brown Christmas became a hit that remains must-see holiday viewing today. Schulz died in 2000, one day before his final Peanuts strip was published. He was 77.

How rare are original Sunday Peanuts comic strips? “There are only so many Sundays between 1950 and when the strip ended,” says Weldon Adams, a comic book cataloging specialist at Heritage Auctions. “Every time we get one, it’s cooler than the last one we saw.”

How does original Peanuts comic strip art manage to get to the market? Didn’t Schulz keep all his originals at his studio? “Charles Schulz was one of the most gracious and kind souls you could encounter. He was beloved by fans,” he says. “When a fan would write a really nice letter, he would autograph the art and send it to them. A lot were personalized to friends and fans, and he just gave them away.” This particular Sunday strip is not inscribed, however, and not every original strip left his studio as gifts. “Some of these were just sold,” Adams says.

Snoopy isn’t in this Peanuts strip. Does that affect its value? “Not necessarily,” he says. “There are so many recurring favorite themes in Peanuts–Lucy at the psychiatrists’s booth, baseball strips with Charlie Brown at the pitcher’s mound, Snoopy as a World War I flying ace, Charlie Brown with the kite-eating tree, Lucy with the football–running gags that are funny every time you see them. There are so many scenes, and fans go out to look for particular ones.”

This Sunday Peanuts strip has a Christmas theme, but it appeared in 1958, well before the famous Christmas special. How unusual is that? “It’s extremely rare to have a Christmas-themed strip to market before the special in 1965. There are only 15 years predating the special, so there are limited opportunities in the first place,” he says. “It pushes it above and beyond. It’s specifically about a Christmas recital at school, which is an element of the special. Ironically, it has a different outcome from what happens in the TV special. Here, Linus can’t remember his line. In the special, he gives a wonderful, beautiful speech. This is the flip side of that.”

The strip has eight panels, and it shows nine Peanuts characters in each panel. How rare is that? “Very rare. It’s going to be a major driving factor [in its final price],” he says. “This is a huge collection of all the regular cast members at that point. There are only a few who are not there. And it’s unique to have so many characters in every single panel. I haven’t seen another one like it.”

And Schulz would have drawn all eight panels by hand, with no assistance? “This is old school. He drew it all,” he says. He also notes that Sunday strips were printed in color in 1958, but someone in production at United Features Syndicate, which distributed the Peanuts strip, would have handled that task.

As of February 3, bidding on this original Peanuts comic strip art had reached $26,000, and the auction is still weeks away. Are you surprised it’s risen so high, so fast?The record for an original Sunday Peanuts strip was $113,525. It had a baseball theme, it was from 1955, and it sold in 2007 at Heritage,” he says. “It was similar in that there were several characters in it, but not nearly as many as this one. Given that this has so many characters, and a Christmas theme before the Christmas special, I have a sneaking suspicion it might top the record. This is unique and it has a lot of good things going for it. It will be interesting to see the bidding at the end. I expect it will be fierce and fast.”

The comic strip art, which is in ink over graphite on Bristol board, is described as being in “excellent condition.” What does that mean? “It indicates that the Bristol board is intact, with no major stains or marks, and no pieces missing,” he says. “There’s a little bit of corner wear, but nothing that would affect the image area. It does allow for a certain amount of toning–discoloration in the paper due to aging. ‘Excellent’ is the highest grade we grant on an artwork. You don’t run into one in pristine condition.”

Why will this Peanuts strip stick in your memory?Peanuts is an American icon,” Adams says. “Charles Schulz tapped into something with that strip, a childlike wonder that crosses all boundaries. Having so many characters in the strip is phenomenal. It’s a unique collection of highly beloved characters.”

How to bid: The original 1958 Sunday Peanuts strip is lot #92220 in the Comics & Comic Art Signature Auction on February 22 – 24, 2018, at Heritage Auctions.

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.

Heritage Auctions is on Twitter and Instagram.

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

You can see more original Peanuts comic strip art at the Charles M. Schulz Museum in Santa Rosa, California. The Peanuts strip continues as reruns in newspapers and on the web, too.

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