My Latest “Sold!” Column for Art & Object Showcases Gorgeous Tableware

Meissen Monteiths Sold! column.png

My February 2019 “Sold!” column for Art & Object magazine features gorgeous tableware: Meissen Swan service porcelain, an 1870 American silver ice bowl with a polar theme, a ridiculously complete mid-century Georg Jensen flatware set in a custom case; and a Gustav Stickley copper charger.

https://www.artandobject.com/articles/sold-highlights-auction-block-0

This Ira Hudson Flying Black Duck Could Soar to $24,000 at Copley Fine Art Auctions

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What you see: A decorative carving of a flying black duck, made by Ira Hudson in 1947. Copley Fine Art Auctions estimates it at $18,000 to $24,000.

 

The expert: Colin McNair, decoy specialist for Copley Fine Art Auctions.

 

The lot notes call Ira Hudson “the South’s greatest waterfowl folk artist of the era.” What makes him so? He appears to be self-taught, and he quickly imparted his own style into his work. He seemed to put a much higher emphasis on his style and sensibility over realism. That direction goes toward what I call whimsical. It’s more toward folk art than realism.

 

What do you mean when you say “whimsical”? He had a very pure and raw confidence that comes forth in his carvings. He was very efficient in every aspect of his methods. You get a high quality standard throughout his body of work, because he did it so much.

 

I understand that he did not rely on patterns when carving his decoys. How did that affect his work? A lot of decoy makers use patterns for the side profile and the top profile  [of a duck decoy]. It would make sense that he doesn’t use patterns. He would take a block with a rectangular cross section, turn it 45 degrees, and he’d carve from that. Patterns don’t apply to that approach to carving. In addition, we know he used wood he salvaged from the shore. When you use found material, patterns are a hindrance. And when you’re looking at someone with the confidence he had, you wouldn’t need a pattern. He could chop wood with a hatchet and make it look like a duck. You see the form influenced by the wood he had available.

 

Does Hudson’s avoidance of patterns make his work more interesting to collectors? Absolutely. His freestyle approach to carving created some incredibly lively, animated forms. You’ll notice with this form that the bird arches to one side. The structure of the bird is turned from tip to tail. It’s a crescent. It’s not realistic, but it’s pleasing and exciting to see, and it’s unique to his work. I don’t think anyone else has decoys with a crescent shape to them.

 

How often do black ducks appear in his work? He lived on Chincoteague, an island off the eastern shore of Virginia. It’s a prime black duck habitat, and black ducks are great birds to hunt. They’re respected for table fare and sport hunting. Hudson made a good number of black ducks to hunt over. That said, his full size carvings of flying black ducks are exceptionally rare. I’ve never seen another full size flying black duck.

 

Did Hudson introduce the concept of the flyer–a decoy depicted in the act of flying? I wouldn’t go so far as to say that he originated the flyer. However, it doesn’t appear to take the idea from anyone else, and it was made around the time the first flyers were made in various regions. There’s no one around him we’d expect to be exposed to anything like this. He doesn’t get full credit, but he was a pioneer, especially for his region.

 

When did he start carving flyers? He started carving during the early 20th century, around 1910 or so. The first flyers started showing up in the 1930s and continued into the 1940s. It’s a natural progression considering that waterfowl laws were changing. A decorative flyer was something a sport hunter could afford and be interested in, whereas a market hunter [someone who hunts ducks to sell as food] would only be interested in the decoy.

 

How many flyers did Hudson make? For full size flyers in total, I’ve probably seen a few dozen.

 

The lot notes call this a “rare” flying black duck. What makes it rare? We look at his flyers and say, “Ok, there’s a few dozen flyers out there. Among those, you’re down to a couple of flying black ducks.” Others represented are mergansers and mallards. It’s one of the only black duck flyers.

 

This bird cannot be used as a duck decoy. You can’t hunt with it. It’s purely decorative. Was Hudson among the earliest creators to carve ducks that are purely decorative, or did the changing waterfowl laws nudge him in that direction? This bird is made purely as decorative rather than a decoy. His son [Delbert] painted it exactly how he would paint a decoy. Its purpose was to attract an affluent buyer to decorate a cabin with it. I would say Hudson is in sync with the top makers around the country in the era in starting to do more with decoratives. He was following market trends.

 

Did he carve this bird in a single piece, or is it assembled from multiple pieces? With this bird, the body is made from one piece of wood. The wings are attached, as are the head and neck. The feet are separate pieces which attach. There are six pieces in a typical flyer as opposed to two pieces in a standard decoy.

 

He carved the decoy from balsa wood. Is that why he needed to create six pieces? Using multiple pieces of wood for a complex form works for a couple of reasons. One, it minimizes waste. Two, you have to consider the strength of the wood, which comes from the direction of its grain. It’s projecting in different directions, so you have to have the grain aligned in the wood or you’ll have weak points that are going to break. The reason he used balsa is it’s a nice, soft, very easy material to carve. Balsa is not as good for decoys because they wear quickly. On decoratives, it’s far less important, because they’re not taking wear. Wall hangers are lighter weight to reduce the chance of it falling off the wall.

 

Is it possible to know why Hudson made this? Does the fact that this is one of two known flying black ducks imply this one might have been commissioned? Or might he have made it for his own pleasure? Almost certainly, he would have made it for sale, and to generate income to support his family. We can’t get too deep into the pure reasoning, but he would make anything that would sell. He made clothespins during the war, when there were rations on things. This was made during a time of demand for decorative waterfowl, and he was more than capable of the job.

 

His son, Delbert, painted this decoy. Do we know when his children started taking on significant roles in the production of decoys? Reportedly, all of his children were involved with production at one time or another. [Hudson had nine.] Delbert and Norman went on to be very competent carvers in their own right. You have to look at Hudson’s work as his workshop. Hudson decoys would have been a joint effort. We judge each bird on its merits.

 

This flyer dates to 1947, two years before Hudson died. Do collectors prefer any specific time of his career? I’d say this carving is a testament to the high level of quality he maintained over the course of decades. Because of that quality standard, there’s no preference for an era of carving. The date of a carving is less important than its individual qualities.

 

What’s its condition? Its paint is in ideal original condition. It has one small repair to a wingtip.

 

It’s made from balsa wood. Would that make it more vulnerable to condition issues? It is, but because it’s a decoy for decorative purposes, it would have had an easy life hanging on a wall.

 

Would it have been made as a one-off, or would it have been one of a flock of flying black ducks that would hang on a wall together? It would have been made as a single object.

 

Why will it stick in your memory? First of all, the rarity. A flying black duck stands out. And it has the quality I like to see in any Hudson carving, including a plump body, a fine head carving, a dynamic pose, and exceptional scratch feather paint.

 

How to bid: The Ira Hudson flying black duck is lot 171 in the 2019 Winter Sale at Copley Fine Art Auctions on February 16, 2019 in Charleston, South Carolina.

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.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Copley Fine Art Auctions.

 

Colin McNair appeared on The Hot Bid last year, talking about an Elmer Crowell preening black duck decoy that ultimately sold for $600,000.

 

Quack!

 

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! This Snarky-looking Tall Wally Bird Fetched (Scroll Down to See)

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Update: The tall Wally Bird tobacco jar sold for $50,000.

 

What you see: A tall bird tobacco jar, aka a “Wally Bird,” by the Martin Brothers, created in London circa 1900. The head is signed by R.W. (Robert Wallace) Martin, and the base is signed as the Martin Brothers. Rago Auctions estimates it at $40,000 to $60,000.

 

The expert: David Rago of Rago Arts and Auctions.

 

Why do people love Wally Birds? What makes them great is they [the Martin Brothers] were world-class modelers, at the top of their game, with an idea no one else had. They’re really expressive creatures, and a lot of fun. It’s like they [the birds] are having a conversation with each other. Expression is so much of what these things are about. They’re pretty snarky. I don’t know of any that are benign.

 

Are those made between 1880 and 1900 the most desirable? I think so. I’m not a scholar or an academic. I’m hands on. I touch this stuff. What I know is not out of a book. The power alley [for Wally Birds] is from 1883 to 1893. I would peg this bird a little earlier than 1900. I’d say 1895. [After 1900 or so] you can see them start to lose their edge. Maybe after 25 years they [the Martin Brothers] wanted to move on to something else.

 

What details of this Wally Bird make you think it’s from 1895 and not 1900? I just think he’s a better bird. Better modeling, better detailing, better expression, better gradation of color. He’s tall, and he’s got a lot of character. I think he was made during the prime of their production.

 

Who was the best modeler among the brothers? I think Robert Wallace was a cut above.

 

Do Wally Birds with his signature sell for more? I always find it’s better to have “Robert Wallace” on a piece than not. But I’d rather have a great unsigned Wally Bird than a mediocre one with R.W.’s initials on it.

 

Does height matter with Wally Birds? Do collectors prefer the taller ones? It’s a factor in the price. Birds tend to be seven or eight inches tall. Over one foot, 15 inches, you’ve got a big bird. The vast majority are 10 inches or less.

 

Do the expressions on the faces of the birds matter? Yes, and being colorful helps. The important things are the expression, the size, and the condition, but it’s not hard to sell a Wally Bird with minor damage.

 

Were Wally Birds actively collected when they were new, or did that come later? I don’t know that people collected things in 1885. We were still dealing with the early days of the Industrial Revolution.

 

So it was more like people thought, ‘This is too nice to throw away’? [More like] “I saw a jar that looks like someone I know, I’ll buy it and keep it.”

 

The Wally Birds were designed to hold pipe tobacco. Were they used that way? I’ve literally handled 200 of these and I haven’t found tobacco in any of them. I think they were called tobacco jars to give them a functional purpose, maybe to appeal to men. Everybody smoked back then. You can’t use a bird, but you can use a tobacco jar. Who knows what the rationale was?

 

And the Martin Brothers made Wally Birds from 1880 up until 1914? I’ve had pieces dated that late. There’s a thought that some were finished later than that by a son of one of the brothers in the 1930s. The dating might not be clear on the later ones. They tend to be blue and white, and the expressions tend to be shallower.

 

Do we know how the birds were made? They were sculpted. You can look inside [a Wally Bird] and see the way the clay has been cut back. They gouged the clay out to make the interior. You can see the tooling of the construction.

 

Are Wally Birds based on real birds? To some extent, yes. But I think the birds they looked at was a departure point for their imaginations.

 

Do British collectors dominate the field of Wally Birds? Americans have been bringing Wally Birds here for 50 years. I even know Brits who buy them from Americans and sell them back to Americans. I would guess that 75 percent of known Martinware [a term that describes the Wally Birds and other ceramics by the Martin Brothers] is in the U.S.

 

How often do Wally Birds come up at auction? There’s been a generational change. People who bought in the 1980s are selling off now. I sold Lillian Hoffman’s collection four years ago. Wait ten years, and the people who bought in the Harriman Judd collection sale [at Sotheby’s in January 2001] will sell off.

 

So they come up every five or ten years or so? Yeah. Even if they [collectors] have to pare down, they don’t put up one Wally Bird. They put up two or three. They sell them in flocks.

 

What’s it like to hold this Wally Bird in your hand? For a ceramic, it’s hefty. There’s nothing eggshell about Wally Birds, nothing delicate.

 

What condition is it in? There’s a repair on one of the feathers, and at the very bottom of the clay base, there’s an unevenness to the edge. But it’s an 125-year-old piece of ceramic sculpture.

 

In your experience, how do collectors display Wally Birds in their homes? They’re displayed how you’d expect a $50,000 piece of clay to be displayed–usually on a shelf, with half a dozen birds side by side. They’re not left on desktops, where they’re too easily knocked over.

 

You’ve got several pieces of Martinware in this auction, including another Wally Bird in Lot 5 that’s estimated at $30,000 to $50,000. What’s the difference between this bird and that bird? Why is Lot 1 one worth more? Size is a significant factor. Lot 1 is a big bird. Lot 5 is interesting because it’s a friar bird. [Look closely at its head and you’ll see it has a tonsure–a monk’s hairstyle. You can also click on the 360-degree view button at the lower right and spin it to better see the back of its head.] But it’s the nature of the beast–it’s clumsier, it’s not as free-flowing a bird. Both are good birds, but one is one and a half times the size of the other one.

 

Wally Birds are 80 to 120 years old. Almost no one smokes a pipe anymore. What’s been keeping up the profile of Wally Birds? Was there a big, influential museum show? Is there a collectors’ society that’s active and media-savvy? Several things. Number one is the right number of them were made. With Martinware, there’s enough material out there but not too much–just enough to create and sustain a market. Number two, both sides of the pond are buying this stuff. If it’s supported by collectors in Europe and America, it’s healthy. Number three, they’re really good. World-class ceramics. They’re sculpted, best in the world at the time it was made, and I haven’t seen much to rival it. The quality has held up.

 

The world auction record for a Wally Bird belongs to an 1889 example that stands just over 14 inches tall and resembles the British prime minister Benjamin Disraeli. It sold in December 2015 in New York for $233,000 against an estimate of $100,000 to $150,000. I realize Rago did not handle that bird, but can you tell me why it did so well? It was a fabulous bird. It was huge, and it was a historic figure from the land where they were made. It was the pinnacle. I don’t know if you get better than [the Wally Birds that resemble] Disraeli and [British prime minister William] Gladstone. Those are the best.

 

And Americans are just as interested in the Disraeli and Gladstone Wally Birds, even though they depict British political figures? Absolutely. I’m sure they’re in America. If you’re going to buy British pottery, you’re going to buy the best out there.

 

Why will this Wally Bird stick in your memory? The expression is really good. The quality is top-notch. The condition is excellent. That’s true of most birds I handle. And it’s just big. The production of the larger birds is quite limited. I’d say five percent are this size or bigger. If 250 [a possible rough count for surviving Wally Birds] is accurate, there are 10 to 15 in this range. In a September 2018 auction, I had one that big, and it sold for $112,500. It’s really, really rare to have another that size. I would dare say I have this bird because I sold the other one.

 

How to bid: The Martin Brothers tall bird tobacco jar is lot 1 in the Early 20th Century Design sale at Rago Auctions on January 19, 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.

 

Rago Auctions is on Twitter and Instagram.

 

Alison Davey of AD Antiques in Gloucestershire, England, has devised a way to track Wally Birds without banding their ankles. In 2018, she began creating “passports” for the coveted works. The document, which resembles a British passport, contains a photo of the Wally Bird, its height, its condition, and its known provenance.

 

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

 

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! The White Delftware 17th-century Fuddling Cup Commanded (Scroll Down to See)

10003 lot 696 fuddling cup

Update: The white delftware 17th-century fuddling cup sold for $2,375.

 

What you see: A white delftware fuddling cup made in London and dating to the mid-17th century. Sotheby’s estimates it at $4,000 to $6,000.

 

The expert: Richard Hird, specialist in the ceramics department at Sotheby’s.

 

This piece is known as a “fuddling cup.” What does “fuddling” mean here? It means to confuse or intoxicate the person who was handling the object.

 

Does the finished form tell us anything about how the cup was made? I don’t think anyone knows for certain, but the vessel was probably made in a two-part mold, and the entwined clay handles were probably twisted by hand and applied to the vessel. It’s quite a simple thing to make.

 

Where was it used? It could have been in a private home, but it was very much a tavern object. It was a drinking game. It was certainly meant to be in a tavern setting.

 

How did the drinking game work? There’s some speculation here, but each container would be filled with a different kind of alcoholic drink, and it would be shaken until they were blended. The object was to try to identify each spirit in each vessel.

 

How do the spirits mix? When you look at it, you can’t quite see it, but within the three chambers there’s a hole that connects all three together. It looks like three separate cups, but they are connected by the hole into one big cup. You have to really look in there to see the piercing. The bulbous shapes in the lower part is where they touch, where the hole has been made.

 

The cup is pretty small, measuring three and a half inches tall. But do we know how much liquid it could hold? I don’t know, and I don’t know if there were specific measurements like that. Fuddling cups all tend to be small-size. They don’t get any bigger than that.

 

How do we know that the fuddling cup is probably from the mid-17th century? So far, there are nine recorded with inscribed dates. The earliest is 1633, and the latest is 1649. They probably contain [were probably made in] the second half of the 17th century, but we don’t have dates.

 

Were fuddling cups popular then? It’s hard to judge. It’s a rare object, but they do appear at auction almost annually. Quite a few survive, but a lot were probably lost as well. It was quite a popular drinking game.

 

The cup is white, with no decoration. Is that typical? I guess it is typical, in a way. You do find them decorated in blue, in chinoiserie style. Having it painted would be more expensive, and it was for a tavern. White was the cheapest option, in that sense.

 

What condition is it in? I see some chips in the glaze here and there. The chips are actually a good sign. If there were no chips, you start to question the age of the object. It’s over 200 years old. It has to have signs of age. If it’s perfect, it would raise questions. And it does have some restoration around the rim of one of the vessels.

 

This was a novelty object. Does its having been restored matter less to a collector? I wouldn’t say so. Early 17th century objects are rare and becoming rarer on the market. People are starting to turn a blind eye to issues because they don’t come around that often.

 

Does it show any signs of wear on its interior? No, but it’s quite unusual to see that. On something this small, the vessel spout is probably two centimeters in diameter. You can’t put much in there.

 

Is the fuddling cup connected at all to puzzle jugs? I think so. I don’t know if you’d find a puzzle jug that early in the 17th century, but it’s the similar idea of a tavern game and confusing the user.

 

Do collectors see fuddling cups as art objects, or do they try to use them at least once? I think they do see them as art objects, but I’d be tempted to try to use it to see how it would work.

 

What is it like to hold this cup in your hands? It’s a very light object. It almost fits in the palm of one hand.

 

How to bid: The fuddling cup is lot 696 in The Collection of Anne H. & Frederick Vogel III sale, taking place January 19, 2019 at Sotheby’s New York.

 

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.

 

Sotheby’s is on Twitter and Instagram.

 

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

 

This is the closest I’ll get to showcasing a jigsaw puzzle on this blog, so here’s a shout-out to my faithful suppliers Chris at Serious Puzzles and Andy at Eureka! Puzzles & Games in Coolidge Corner in Brookline, Massachusetts. Thanks!

 

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

This Snarky-looking, Super-tall Wally Bird Could Command $60,000 at Rago

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What you see: A tall bird tobacco jar, aka a “Wally Bird,” by the Martin Brothers, created in London circa 1900. The head is signed by R.W. (Robert Wallace) Martin, and the base is signed as the Martin Brothers. Rago Auctions estimates it at $40,000 to $60,000.

 

The expert: David Rago of Rago Arts and Auctions.

 

Why do people love Wally Birds? What makes them great is they [the Martin Brothers] were world-class modelers, at the top of their game, with an idea no one else had. They’re really expressive creatures, and a lot of fun. It’s like they [the birds] are having a conversation with each other. Expression is so much of what these things are about. They’re pretty snarky. I don’t know of any that are benign.

 

Are those made between 1880 and 1900 the most desirable? I think so. I’m not a scholar or an academic. I’m hands on. I touch this stuff. What I know is not out of a book. The power alley [for Wally Birds] is from 1883 to 1893. I would peg this bird a little earlier than 1900. I’d say 1895. [After 1900 or so] you can see them start to lose their edge. Maybe after 25 years they [the Martin Brothers] wanted to move on to something else.

 

What details of this Wally Bird make you think it’s from 1895 and not 1900? I just think he’s a better bird. Better modeling, better detailing, better expression, better gradation of color. He’s tall, and he’s got a lot of character. I think he was made during the prime of their production.

 

Who was the best modeler among the brothers? I think Robert Wallace was a cut above.

 

Do Wally Birds with his signature sell for more? I always find it’s better to have “Robert Wallace” on a piece than not. But I’d rather have a great unsigned Wally Bird than a mediocre one with R.W.’s initials on it.

 

Does height matter with Wally Birds? Do collectors prefer the taller ones? It’s a factor in the price. Birds tend to be seven or eight inches tall. Over one foot, 15 inches, you’ve got a big bird. The vast majority are 10 inches or less.

 

Do the expressions on the faces of the birds matter? Yes, and being colorful helps. The important things are the expression, the size, and the condition, but it’s not hard to sell a Wally Bird with minor damage.

 

Were Wally Birds actively collected when they were new, or did that come later? I don’t know that people collected things in 1885. We were still dealing with the early days of the Industrial Revolution.

 

So it was more like people thought, ‘This is too nice to throw away’? [More like] “I saw a jar that looks like someone I know, I’ll buy it and keep it.”

 

The Wally Birds were designed to hold pipe tobacco. Were they used that way? I’ve literally handled 200 of these and I haven’t found tobacco in any of them. I think they were called tobacco jars to give them a functional purpose, maybe to appeal to men. Everybody smoked back then. You can’t use a bird, but you can use a tobacco jar. Who knows what the rationale was?

 

And the Martin Brothers made Wally Birds from 1880 up until 1914? I’ve had pieces dated that late. There’s a thought that some were finished later than that by a son of one of the brothers in the 1930s. The dating might not be clear on the later ones. They tend to be blue and white, and the expressions tend to be shallower.

 

Do we know how the birds were made? They were sculpted. You can look inside [a Wally Bird] and see the way the clay has been cut back. They gouged the clay out to make the interior. You can see the tooling of the construction.

 

Are Wally Birds based on real birds? To some extent, yes. But I think the birds they looked at was a departure point for their imaginations.

 

Do British collectors dominate the field of Wally Birds? Americans have been bringing Wally Birds here for 50 years. I even know Brits who buy them from Americans and sell them back to Americans. I would guess that 75 percent of known Martinware [a term that describes the Wally Birds and other ceramics by the Martin Brothers] is in the U.S.

 

How often do Wally Birds come up at auction? There’s been a generational change. People who bought in the 1980s are selling off now. I sold Lillian Hoffman’s collection four years ago. Wait ten years, and the people who bought in the Harriman Judd collection sale [at Sotheby’s in January 2001] will sell off.

 

So they come up every five or ten years or so? Yeah. Even if they [collectors] have to pare down, they don’t put up one Wally Bird. They put up two or three. They sell them in flocks.

 

What’s it like to hold this Wally Bird in your hand? For a ceramic, it’s hefty. There’s nothing eggshell about Wally Birds, nothing delicate.

 

What condition is it in? There’s a repair on one of the feathers, and at the very bottom of the clay base, there’s an unevenness to the edge. But it’s an 125-year-old piece of ceramic sculpture.

 

In your experience, how do collectors display Wally Birds in their homes? They’re displayed how you’d expect a $50,000 piece of clay to be displayed–usually on a shelf, with half a dozen birds side by side. They’re not left on desktops, where they’re too easily knocked over.

 

You’ve got several pieces of Martinware in this auction, including another Wally Bird in Lot 5 that’s estimated at $30,000 to $50,000. What’s the difference between this bird and that bird? Why is Lot 1 one worth more? Size is a significant factor. Lot 1 is a big bird. Lot 5 is interesting because it’s a friar bird. [Look closely at its head and you’ll see it has a tonsure–a monk’s hairstyle. You can also click on the 360-degree view button at the lower right and spin it to better see the back of its head.] But it’s the nature of the beast–it’s clumsier, it’s not as free-flowing a bird. Both are good birds, but one is one and a half times the size of the other one.

 

Wally Birds are 80 to 120 years old. Almost no one smokes a pipe anymore. What’s been keeping up the profile of Wally Birds? Was there a big, influential museum show? Is there a collectors’ society that’s active and media-savvy? Several things. Number one is the right number of them were made. With Martinware, there’s enough material out there but not too much–just enough to create and sustain a market. Number two, both sides of the pond are buying this stuff. If it’s supported by collectors in Europe and America, it’s healthy. Number three, they’re really good. World-class ceramics. They’re sculpted, best in the world at the time it was made, and I haven’t seen much to rival it. The quality has held up.

 

The world auction record for a Wally Bird belongs to an 1889 example that stands just over 14 inches tall and resembles the British prime minister Benjamin Disraeli. It sold in December 2015 in New York for $233,000 against an estimate of $100,000 to $150,000. I realize Rago did not handle that bird, but can you tell me why it did so well? It was a fabulous bird. It was huge, and it was a historic figure from the land where they were made. It was the pinnacle. I don’t know if you get better than [the Wally Birds that resemble] Disraeli and [British prime minister William] Gladstone. Those are the best.

 

And Americans are just as interested in the Disraeli and Gladstone Wally Birds, even though they depict British political figures? Absolutely. I’m sure they’re in America. If you’re going to buy British pottery, you’re going to buy the best out there.

 

Why will this Wally Bird stick in your memory? The expression is really good. The quality is top-notch. The condition is excellent. That’s true of most birds I handle. And it’s just big. The production of the larger birds is quite limited. I’d say five percent are this size or bigger. If 250 [a possible rough count for surviving Wally Birds] is accurate, there are 10 to 15 in this range. In a September 2018 auction, I had one that big, and it sold for $112,500. It’s really, really rare to have another that size. I would dare say I have this bird because I sold the other one.

 

How to bid: The Martin Brothers tall bird tobacco jar is lot 1 in the Early 20th Century Design sale at Rago Auctions on January 19, 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.

 

Rago Auctions is on Twitter and Instagram.

 

Alison Davey of AD Antiques in Gloucestershire, England, has devised a way to track Wally Birds without banding their ankles. In 2018, she began creating “passports” for the coveted works. The document, which resembles a British passport, contains a photo of the Wally Bird, its height, its condition, and its known provenance.

 

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

 

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This Fuddling Cup Confused 17th-century British Drinkers. Sotheby’s Could Sell it for $6,000.

10003 lot 696 fuddling cup

What you see: A white delftware fuddling cup made in London and dating to the mid-17th century. Sotheby’s estimates it at $4,000 to $6,000.

 

The expert: Richard Hird, specialist in the ceramics department at Sotheby’s.

 

This piece is known as a “fuddling cup.” What does “fuddling” mean here? It means to confuse or intoxicate the person who was handling the object.

 

Does the finished form tell us anything about how the cup was made? I don’t think anyone knows for certain, but the vessel was probably made in a two-part mold, and the entwined clay handles were probably twisted by hand and applied to the vessel. It’s quite a simple thing to make.

 

Where was it used? It could have been in a private home, but it was very much a tavern object. It was a drinking game. It was certainly meant to be in a tavern setting.

 

How did the drinking game work? There’s some speculation here, but each container would be filled with a different kind of alcoholic drink, and it would be shaken until they were blended. The object was to try to identify each spirit in each vessel.

 

How do the spirits mix? When you look at it, you can’t quite see it, but within the three chambers there’s a hole that connects all three together. It looks like three separate cups, but they are connected by the hole into one big cup. You have to really look in there to see the piercing. The bulbous shapes in the lower part is where they touch, where the hole has been made.

 

The cup is pretty small, measuring three and a half inches tall. But do we know how much liquid it could hold? I don’t know, and I don’t know if there were specific measurements like that. Fuddling cups all tend to be small-size. They don’t get any bigger than that.

 

How do we know that the fuddling cup is probably from the mid-17th century? So far, there are nine recorded with inscribed dates. The earliest is 1633, and the latest is 1649. They probably contain [were probably made in] the second half of the 17th century, but we don’t have dates.

 

Were fuddling cups popular then? It’s hard to judge. It’s a rare object, but they do appear at auction almost annually. Quite a few survive, but a lot were probably lost as well. It was quite a popular drinking game.

 

The cup is white, with no decoration. Is that typical? I guess it is typical, in a way. You do find them decorated in blue, in chinoiserie style. Having it painted would be more expensive, and it was for a tavern. White was the cheapest option, in that sense.

 

What condition is it in? I see some chips in the glaze here and there. The chips are actually a good sign. If there were no chips, you start to question the age of the object. It’s over 200 years old. It has to have signs of age. If it’s perfect, it would raise questions. And it does have some restoration around the rim of one of the vessels.

 

This was a novelty object. Does its having been restored matter less to a collector? I wouldn’t say so. Early 17th century objects are rare and becoming rarer on the market. People are starting to turn a blind eye to issues because they don’t come around that often.

 

Does it show any signs of wear on its interior? No, but it’s quite unusual to see that. On something this small, the vessel spout is probably two centimeters in diameter. You can’t put much in there.

 

Is the fuddling cup connected at all to puzzle jugs? I think so. I don’t know if you’d find a puzzle jug that early in the 17th century, but it’s the similar idea of a tavern game and confusing the user.

 

Do collectors see fuddling cups as art objects, or do they try to use them at least once? I think they do see them as art objects, but I’d be tempted to try to use it to see how it would work.

 

What is it like to hold this cup in your hands? It’s a very light object. It almost fits in the palm of one hand.

 

How to bid: The fuddling cup is lot 696 in The Collection of Anne H. & Frederick Vogel III sale, taking place January 19, 2019 at Sotheby’s New York.

 

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

 

This is the closest I’ll get to showcasing a jigsaw puzzle on this blog, so here’s a shout-out to my faithful suppliers Chris at Serious Puzzles and Andy at Eureka! Puzzles & Games in Coolidge Corner in Brookline, Massachusetts. Thanks!

 

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See My New Column at “Art & Object” Magazine: “Sold!”

A&O decadent mancave whiskey Macallan.png

What you see: A bottle of Macallan 1926 60 Year-Old, handprinted by Irish artist Michael Dillon. It commanded £1.2 million ($1,530,484) at Christie’s London in late November, and it’s the lead story of my new column for Art & Object magazine.

 

Read my first Sold! column:

https://www.artandobject.com/articles/sold-items-majestic-mancave-auction

 

Follow Art & Object on Twitter and Instagram.

 

You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

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