SOLD! Heritage Sold the 1840 Ceramic William Henry Harrison Campaign Pitcher for… (Scroll Down to See)

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Update: The William Henry Harrison 1840 campaign pitcher sold for $18,750.

 

What you see: A large (almost a foot tall) ceramic pitcher touting Whig candidate William Henry Harrison’s 1840 campaign for president. Heritage Auctions estimates it at $30,000.

 

The expert: Don Ackerman, consignment director for Heritage Auctions’s historical Americana & political department.

 

Who would have bought this pitcher in 1840? Or did Harrison make them to give away to his most ardent supporters? A lot of the campaign items from that period were utilitarian objects. In contrast to campaign buttons or ribbons that you wore to a rally, you’d display the pitcher in your home, and you could use it. I don’t think he gave it away. It was not cheap to produce. If you were a diehard supporter, you’d buy it and put it in your house. After the election, you didn’t throw it out. It had long-term value.

 

Was the ceramic pitcher a common form for campaign memorabilia in 1840? It was a fairly common form. Pitchers made of soft paste porcelain and china have a history. Before America became independent, there was a 1766 teapot that said ‘No Stamp Act’. That’s certainly one of the earliest political items. After the Revolutionary War, you’d often see Liverpool jugs, which were imported from England. America had very little in the way of pottery. Though England lost the war, they produced patriotic pitchers and tankards for the U.S. because there was demand for them.

 

William Henry Harrison died barely a month after taking office, so there’s little to collect from his time as president. I imagine there’s much more material from his days as a candidate? You get a lot of stuff for William Henry Harrison and practically nothing for his opponent, Martin Van Buren. Harrison had a highly organized campaign and it caught the public’s attention more than any other campaign before that time. 1840 stands out for a flourishing of political items and material, and probably 95 percent of it was for William Henry Harrison.

 

Why was that? Was Harrison a marketing and branding wizard, or was the demand for Harrison stuff that strong? I think there was demand for it. His was the first campaign with an icon–the log cabin and the hard cider barrel. Previously, you didn’t have symbols representing the candidates. Harrison came up with the log cabin and the hard cider barrel, and it caught fire.

 

We think that four or five of these ceramic pitchers survive, but do we have any idea how many might have been made? They probably made very few of them. It was made by an American pottery company.

 

So you get cross-competition for this pitcher from collectors of American ceramics? Yes. Pottery people really like it. This is the pinnacle of political pottery from 1840. There’s probably fewer than ten examples in existence. When these come up for auction, they consistently sell for a lot of money.

 

How do the decorations on the pitcher reflect William Henry Harrison’s campaign imagery? It’s got the log cabin and the hard cider barrel.

 

Where is the hard cider barrel? Below the window of the log cabin. It was a popular image because Harrison was meant to be a man of the people. Contrast that with Martin Van Buren, who was considered a New York elitist who’d sit in the White House and sip Champagne from a silver goblet. The hard cider barrel was originally a criticism of Harrison–that he was a country bumpkin, and if he was given a pension he’d be content to sit in a log cabin and sip hard cider. Of course by that time he was living in a mansion, but he presented himself as born in and lived in a log cabin, and an Ohio farmer, like Cincinnatus, going back to his farm after the war.

 

Does the pitcher have every element that a William Henry Harrison collector would want? No, it doesn’t, but it’s got the essentials. It doesn’t say “The Hero of Tippecanoe,” and it doesn’t show a canoe. [Yes, Harrison was the ‘Tippecanoe’ in ‘Tippecanoe and Tyler Too,’ and that slogan is not on the pitcher, either.] He was sometimes called the “Farmer of North Bend.” Here he’s the “Ohio Farmer.” It lacks the symbol of the Whig party, which was the raccoon–

 

Wait, wait, wait. The symbol of the Whig party was the raccoon? What is it with American political parties choosing non-heroic animals to represent them? The raccoon goes with the rustic Daniel Boone, Davy Crockett type of thing. These guys were trappers. They trapped animals, sold the hides, and made stew out of the meat.

 

This pitcher was a functional object. Does it show any signs of use? Not really. It’s in pretty good shape. It’s got some discoloration on the inside, and it’s got a crack and a chip [which you can see on the spout of the pitcher]. Obviously, it was used. The crack and the chip can be restored, and the stains can be bleached out. Even with the defects, it’s probably the nicest one [of the surviving pitchers] I’ve seen. A lot of them have cracks and tend to be highly discolored.

 

Another example of the William Henry Harrison pitcher went to auction at Heritage in December 2016, selling for $37,500. But do you remember if and when one of these pitchers went to auction before then? This one and the one sold in 2016 are the only two I remember in political memorabilia auctions. I know of five examples, and I’ve been collecting for 54 years. They’re highly prized. I don’t think I’ve seen one sold for under $20,000, even going way, way back. This is the Cadillac. It’s got four portraits. It was made in Jersey City, New Jersey. It’s big. It’s got great graphics. It’s rare. If you can afford it, it’s a great item to have.

 

How to bid: The William Henry Harrison ceramic pitcher is lot #43039 in the David and Janice Frent Collection of Presidential & Political Americana, Part IV sale, which takes place on November 10 and 11 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.

 

Earlier in 2018, Don Ackerman spoke to The Hot Bid about a William McKinley campaign poster, also from the David and Janice Frent Collection, which sold for $11,875.

 

Did you just realize that “William Henry Harrison” scans just like “Alexander Hamilton”? No need to write a Hamilton parody. Actor Jason Kravitz beat you to it.

 

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

Pour One Out for America’s Shortest-lived President, William Henry Harrison, With An 1840 Ceramic Campaign Pitcher That Heritage Auctions Could Sell for $30,000

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What you see: A large (almost a foot tall) ceramic pitcher touting Whig candidate William Henry Harrison’s 1840 campaign for president. Heritage Auctions estimates it at $30,000.

 

The expert: Don Ackerman, consignment director for Heritage Auctions’s historical Americana & political department.

 

Who would have bought this pitcher in 1840? Or did Harrison make them to give away to his most ardent supporters? A lot of the campaign items from that period were utilitarian objects. In contrast to campaign buttons or ribbons that you wore to a rally, you’d display the pitcher in your home, and you could use it. I don’t think he gave it away. It was not cheap to produce. If you were a diehard supporter, you’d buy it and put it in your house. After the election, you didn’t throw it out. It had long-term value.

 

Was the ceramic pitcher a common form for campaign memorabilia in 1840? It was a fairly common form. Pitchers made of soft paste porcelain and china have a history. Before America became independent, there was a 1766 teapot that said ‘No Stamp Act’. That’s certainly one of the earliest political items. After the Revolutionary War, you’d often see Liverpool jugs, which were imported from England. America had very little in the way of pottery. Though England lost the war, they produced patriotic pitchers and tankards for the U.S. because there was demand for them.

 

William Henry Harrison died barely a month after taking office, so there’s little to collect from his time as president. I imagine there’s much more material from his days as a candidate? You get a lot of stuff for William Henry Harrison and practically nothing for his opponent, Martin Van Buren. Harrison had a highly organized campaign and it caught the public’s attention more than any other campaign before that time. 1840 stands out for a flourishing of political items and material, and probably 95 percent of it was for William Henry Harrison.

 

Why was that? Was Harrison a marketing and branding wizard, or was the demand for Harrison stuff that strong? I think there was demand for it. His was the first campaign with an icon–the log cabin and the hard cider barrel. Previously, you didn’t have symbols representing the candidates. Harrison came up with the log cabin and the hard cider barrel, and it caught fire.

 

We think that four or five of these ceramic pitchers survive, but do we have any idea how many might have been made? They probably made very few of them. It was made by an American pottery company.

 

So you get cross-competition for this pitcher from collectors of American ceramics? Yes. Pottery people really like it. This is the pinnacle of political pottery from 1840. There’s probably fewer than ten examples in existence. When these come up for auction, they consistently sell for a lot of money.

 

How do the decorations on the pitcher reflect William Henry Harrison’s campaign imagery? It’s got the log cabin and the hard cider barrel.

 

Where is the hard cider barrel? Below the window of the log cabin. It was a popular image because Harrison was meant to be a man of the people. Contrast that with Martin Van Buren, who was considered a New York elitist who’d sit in the White House and sip Champagne from a silver goblet. The hard cider barrel was originally a criticism of Harrison–that he was a country bumpkin, and if he was given a pension he’d be content to sit in a log cabin and sip hard cider. Of course by that time he was living in a mansion, but he presented himself as born in and lived in a log cabin, and an Ohio farmer, like Cincinnatus, going back to his farm after the war.

 

Does the pitcher have every element that a William Henry Harrison collector would want? No, it doesn’t, but it’s got the essentials. It doesn’t say “The Hero of Tippecanoe,” and it doesn’t show a canoe. [Yes, Harrison was the ‘Tippecanoe’ in ‘Tippecanoe and Tyler Too,’ and that slogan is not on the pitcher, either.] He was sometimes called the “Farmer of North Bend.” Here he’s the “Ohio Farmer.” It lacks the symbol of the Whig party, which was the raccoon–

 

Wait, wait, wait. The symbol of the Whig party was the raccoon? What is it with American political parties choosing non-heroic animals to represent them? The raccoon goes with the rustic Daniel Boone, Davy Crockett type of thing. These guys were trappers. They trapped animals, sold the hides, and made stew out of the meat.

 

This pitcher was a functional object. Does it show any signs of use? Not really. It’s in pretty good shape. It’s got some discoloration on the inside, and it’s got a crack and a chip [which you can see on the spout of the pitcher]. Obviously, it was used. The crack and the chip can be restored, and the stains can be bleached out. Even with the defects, it’s probably the nicest one [of the surviving pitchers] I’ve seen. A lot of them have cracks and tend to be highly discolored.

 

Another example of the William Henry Harrison pitcher went to auction at Heritage in December 2016, selling for $37,500. But do you remember if and when one of these pitchers went to auction before then? This one and the one sold in 2016 are the only two I remember in political memorabilia auctions. I know of five examples, and I’ve been collecting for 54 years. They’re highly prized. I don’t think I’ve seen one sold for under $20,000, even going way, way back. This is the Cadillac. It’s got four portraits. It was made in Jersey City, New Jersey. It’s big. It’s got great graphics. It’s rare. If you can afford it, it’s a great item to have.

 

How to bid: The William Henry Harrison ceramic pitcher is lot #43039 in the David and Janice Frent Collection of Presidential & Political Americana, Part IV sale, which takes place on November 10 and 11 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.

 

Earlier in 2018, Don Ackerman spoke to The Hot Bid about a William McKinley campaign poster, also from the David and Janice Frent Collection, which sold for $11,875.

 

Did you just realize that “William Henry Harrison” scans just like “Alexander Hamilton”? No need to write a Hamilton parody. Actor Jason Kravitz beat you to it.

 

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

WHOA! That Elmer Crowell Preening Black Duck Decoy Flew Away With $600,000 at Copley Fine Art Auctions–Double Its High Estimate

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Update: The circa 1912 A. Elmer Crowell Phillips rig preening black duck decoy sold for $600,000—double its high estimate.

 

What you see: A Phillips rig preening black duck decoy, carved circa 1912 by A. Elmer Crowell for his patron, Dr. John C. Phillips. Copley Fine Art Auctions estimates it at $200,000 to $300,000.

 

Who was A. Elmer Crowell? Born in 1862 in East Harwich, Massachusetts, he’s the king of American duck decoy carvers. Initially, he carved in the course of his work at duck-hunting camps, but over time, his magnificent wooden birds won fans who loved them as decorative objects. His decoys have sold at auction for six-figure sums, and two sold privately for more than $1 million each. Crowell died in 1952, at the age of 89.

 

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

 

Forgive me if this is a stupid question, but is this preening black duck a hen or a drake? Black ducks get a pass on being hens or drakes. 99 percent of the time, they’re just black ducks. This is just a black duck, with no clear designation on being one or the other.

 

It’s also described as being a “rig mate” to other duck decoys that belonged to the late Dr. Phillips. What does it mean for a decoy to be a rig mate? A rig is a group of birds [decoys] owned by and hunted over by one person. It doesn’t always mean the decoys are exactly alike, or made side by side. There can be a lot of variation, depending on how they were made and used. In the context of the Phillips rig, a decoy can be anything out of that group of rig mates. There are Phillips rig mates that look nothing like Crowell’s work.

 

Crowell carved and painted hundreds of decoys that depicted black ducks. Where does this one rank among his lifetime output? It’s among his very finest. As you mention, he did hundreds of them. This bird is as good as they come, in my personal opinion.

 

Did he carve the decoy from a single piece of wood? The bird is made of two pieces, one for the body and one for the head. One thing that makes the bird so strong is the masterful sculpture of the duck in a preening position. It’s not easy to capture well, and Crowell did it nearly perfectly. The finer details of the carving show Crowell’s tremendous effort to do his best work for his best patron. We see him coming into a sweet spot in his career–he was as good a carver as he would be, and this was on the early side of showing his command of his wet-on-wet painting technique, which gives a natural, soft look to the feathers.

 

This looks gorgeous enough to have been destined for a mantle, but the lot notes say it shows evidence of being used on a hunt… It’s a working decoy, and at the same time, it represents one of the best carved decoys in a decorative sense. The bird was hardly used. It was probably retired early because of an appreciation of its aesthetic qualities. I suspect the patron deemed it too precious to hunt over. What’s interesting about the Phillips rig is Crowell didn’t just make this decoy for Phillips, he was his stand manager. He created the decoys, and decided where they would be hunted, and how they would be hunted over. Crowell knew he was going to be involved with handling the decoy after it left his workshop. He wasn’t handing it over to a hunter who might break it. It’s unknowable, but it’s possible because of the relationship Crowell and Phillips had.

 

Do we know when Crowell made this decoy? He used a hot brand [on his decoys]. We can date his birds to some extent on the quality of the brand. Every time a brand is heated, it corrodes a little. Over the years, a brand can be seen burning out, leaving a softer and softer impression. It’s a great dating tool that Crowell inadvertently left behind. This has a perfectly crisp oval brand, which suggests it was 1912.

 

Carving the duck’s head to make it hover in a natural-looking way over the body seems difficult. Is it harder to carve a preening duck? You can think of a preener as the decoy maker’s deluxe model. It’s harder to carve and harder to paint. But it adds variety to the rig, making it look more lifelike as a group. An additional benefit is they’re less breakable because the body can protect the head. We have a 200-year-old decoy in the sale with an intact bill because it’s protected by the body in the preening pose.

 

What is your favorite detail on this decoy? When I look at this bird, the first thing it does is hold together as a phenomenal piece of sculpture. You can go from tip to tail picking out fine details that were expertly executed, but the bird is better than any one single detail.

 

What is it like to hold the decoy? [Laughs] Being in the presence of the decoy before handling it is a real pleasure. It’s excellent from every angle. And it feels just right in the hand. It’s full, robust, and you can feel the finer subtleties in the carving details. I wouldn’t change a thing.

 

To explain what a big deal it is to auction Donal C. O’Brien, Jr.’s collection of decoys and sporting art, can you draw an analogy to other notable auctions of lots consigned by great collectors? It would be somewhat like the Rockefeller collection or the Yves St. Laurent collection in its breadth and quality, and that’s been reflected in the market response to the birds so far.

 

Why will this Crowell preening black duck decoy stick in your memory? Crowell is a quintessential representative of great American bird carving. He was self-taught. He started making decoys because he needed to, and his working decoys led to the birth of American decorative bird carving. This bird is at the nexus of his carving career, where his working decoys became so good, they’re indistinguishable from decorative carving. He’s one of the best makers, making his best effort, carving one of his favorite species for his most important client. It fires on all cylinders from a historic standpoint and an aesthetic standpoint.

 

How to bid: The Crowell preening black duck is lot 14 in the Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Session III, taking place July 19, 2018 at Copley Fine Art 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.

 

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

 

Copley Fine Art Auctions appeared on The Hot Bid last summer in a post about a record-setting Gus Wilson duck decoy.

 

Quack!

 

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RECORD! RR Auction Sells Astronaut Dave Scott’s Apollo 17 Space-flown Robbins Medal for $68,750

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What you see: A space-flown Apollo 17 Robbins medal owned by Dave Scott, commander of Apollo 15 and the seventh man to walk on the moon. RR Auction sold it in September 2016 for $68,750–a record for a Robbins medal.

 

The expert: Bobby Livingston, executive vice president at RR Auction.

 

How did Scott get this Robbins medal? All astronauts had the opportunity to buy them. Dave Scott bought one for every Apollo mission, starting with Apollo 7. They’re a neat crossover between coin collecting and space flight memorabilia. These were meant for the astronauts–the general public couldn’t buy them. They had the mission logo on the front and their names [the names of the three crew members] struck on the back. They were great commemoratives.

 

Unlike stamps or flags, which are flat and light, silver medals have heft and weight. How did the Robbins company convince NASA to make room for several dozen medals on its Apollo spacecraft? I’m not familiar with the history of the decision. I do know it was a tradition of NASA to allow certain artifacts to be flown in space. NASA flew Robbins medals into the 1990s. It was a long tradition with the government and the astronauts.

 

What makes a Robbins medal valuable? Aside from being flown in space, having a letter of authenticity from an astronaut makes them extremely valuable. When Buzz Aldrin writes a letter saying, “I took this Robbins medal to the moon,” that adds value. The chain of custody matters.

 

If a space-flown Robbins medal lacks a letter of authenticity from an astronaut, is it still valuable? Yes. Each coin has a number stamped on its edge. We know which numbers flew [in space] and which did not. If it flew, it has value. With Dave, when he was on Apollo 15, he requested his to be number 15. Not only did he take a coin, he took a specific number because it related to the mission. I can’t imagine one more valuable.

 

How did Dave Scott snag the number 15 Robbins medal from the Apollo 17 series? Because he asked for it. Dave is a collector, so he understood what was neat and what made sense. These guys are engineers, they’re numbers guys.

 

That’s what I mean. There were two other guys on Apollo 15. How did Dave Scott claim the number 15 Apollo 17 Robbins medal for himself? Did he arm-wrestle them for it? Wrong. He was the mission commander. He outranked them. (Laughs)

 

How often do Robbins medals come up at auction? They appear at auction consistently, but the supply is limited and the price is going up. They’re becoming more commodified.

 

I understand the Robbins company struck 14-karat gold Robbins medals. How do they fit in here? They’re rarer and more desirable. They struck three to seven for each mission. All have serial numbers on them, and they were only available to the flight crew. They were made specifically to give to their wives.

 

Have any of the gold ones come to auction? One from Apollo 13 sold recently. We had one with a diamond in it from Apollo 11. They’re not giant coins–they’re smaller than a silver dollar, maybe a bit smaller. They’re beautiful.

 

Why are flown Apollo 17 medallions considered the most sought-after and difficult to obtain? Is it because of their limited numbers, or is it more than that? Only 80 Apollo 17 Robbins medals were flown. You can’t have a complete set of flown medals without Apollo 17. It was the last mission, and it’s rare. They come up once every couple of years, and we’re actively seeking them out. People are not willing to sell them.

 

This example has a third-party grade of MS67. Did the high grade drive the medal’s record price? It was in great condition, but I don’t know if the grade made a difference to the person who bought it. He needed it for his collection.

 

Dave Scott is still alive. Could you talk about what prompted him to consign back in September 2016? Why did he sell then? Most of the astronauts donated lots of material to universities, and a lot gave things to their children and grandchildren. There’s stuff left over that their families don’t want, and they want to get it into the hands of people who would want them. Dave Scott cares a lot. He’s got things that went to the moon, he’s in his eighties, and he’s a collector. He will write a whole dissertation about what it [a given piece he owned during his NASA career] meant. These things will be lost unless they’re documented and put in the hands of people. On a side note, Alan Shepard lived in Derry, New Hampshire. His family had a garage sale. Someone bought a bureau for $50, and in it was a letter he wrote to his parents, talking about being considered for the Mercury 7 selection program. We sold it for $106,000. These astronauts–if things are not documented and curated, they’ll be put on the curb, like [those countless mothers who infamously threw out their kids’] baseball cards. It happens! (Laughs)

 

What was the previous record for a flown Robbins medal? Was it an Apollo 11? We sold an Apollo 11 for $56,000. It was an interesting one, owned by a nephew of Neil Armstrong, but it wasn’t the previous record. In May 2013, we sold Gene Cernan’s Apollo 17 Robbins medal for $61,000. The Apollo 17, because it’s rarest, sold for more.

 

The September 2016 auction took place entirely online. When did you know you had a record? We realized it that night, and we put a press release out right away. We’re very proud every time we set a record.

 

How long do you think the record will stand? I don’t know, but records are made to be broken. With the 50th anniversary of Apollo 11 coming up, we may see a lot of excitement in the space collectibles market. The attention is going to be intense. I wouldn’t be surprised if we break the record in a year or two.

 

What else could challenge it? Maybe Neil Armstrong’s 14-karat gold Robbins medal?   I don’t know if that’s ever going to come to market. If it did, it would have a pretty high estimate. It would be incredibly valuable, and it would break the record.

 

How to subscribe to The Hot Bid: Click 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 RR Auction.

 

Livingston spoke to The Hot Bid in 2017 about a ring that Clyde Barrow made in prison to give to his girlfriend, Bonnie Parker.

 

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! A Painting by Self-Taught African-American Artist Sam Doyle Drums Up $17,000 at Slotin Folk Art

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Update: Penn Drummer Boy sold for $17,000.

 

What you see: Penn Drummer Boy, rendered in house paint on discarded tin roofing material around 1983 by Sam Doyle. Slotin Folk Art estimates it at $15,000 to $20,000.

 

Who was Sam Doyle? He was an African-American self-taught artist who painted images of people and events in the Gullah community of Saint Helena Island in South Carolina. He made his art with what he could scavenge. Born in 1906, he began painting in 1944 and displayed his works outside his home. Eventually, it evolved into the Saint Helena Out Door Art Gallery. Doyle gained fame after he was included in a groundbreaking 1982 show, Black Folk Art in America: 1930-1980 at the Corcoran Gallery of Art in Washington, D.C. He died in 1985, at the age of 79.

 

The expert: Steve Slotin of Slotin Folk Art in Buford, Georgia.

 

How prolific was Sam Doyle? Do we know? There probably is a finite number of works because he was producing for quite a few years and decorating his environment with images. When he got discovered, collectors bought them and he replaced them. There’s at least a thousand works, or it’s in the thousands.

 

Penn Drummer Boy is undated. Can we narrow down when he might have painted it? The family who owned it bought it directly from his environment. This is 1983 or just right after the Corcoran exhibit. The painting could have been in the yard for a year or two, or he could have just made it.

 

How often did he paint on metal? The majority of his works are painted on old, used roofing tin. Discarded roofing and discarded house paint was almost free material.

 

Is Penn Drummer Boy from his Penn series? This image was repeated. That wasn’t uncommon. It’s an image he’d already done, and when it was bought, he made another, and another, and another. When you’re extremely poor and white people come to your community and say, ‘I want one of those,’ you’re going to make one of those. If you wanted a Penn Drummer Boy, he’d make you a Penn Drummer Boy. His paintings reported what went on in his community. He painted people he knew. No one else was documenting what was going on in his community except for him. He would record people of importance, such as the first black butcher. You get a lot of history in his paintings, but you don’t necessarily realize it.

 

How many Penn Drummer Boy paintings are there? No one knows, but we’ve seen three or four in the last 25 years we’ve been doing this, and we’ve handled two or three.

 

How similar are they? Pretty much everything is similar to the one before it.  If it’s a midwife holding a baby, it’s the same midwife holding a baby. There’s not a lot of variation.

 

Doyle attended the Penn school when he was young, and later he became a father. Is there any chance that Penn Drummer Boy is a self-portrait, or maybe a portrait of one of his kids? I would not know that. I’ve studied this guy and what he looks like, and it’s probably not the same person. It could be a very young version of him, but I wouldn’t even go there. There’s no indication. It didn’t occur to me that it would ever be a self-portrait. He may have done one or two self-portraits [in his career].

 

Was Penn Drummer Boy ever displayed at the outdoor gallery? Everything was displayed in his yard until someone bought it. If you found him and walked onto his property, you could buy it. Nothing was there just for looksies. That was his gallery.

 

Did Doyle call it a gallery? Who knows what he called it. Everything was nailed to the outside of the walls. It was really an all-outdoor environment. Paintings were leaning against each other. It was not what me and you would say is a gallery.

 

How rare is it for a Sam Doyle to come to auction? We’ve been really lucky. We get one or two pieces in every sale, which happens every six months. We’ve certainly sold more than anybody else. We have a really good track record of getting the highest prices for our sellers and for the buyers, making sure what we have is correct. We do a really good job of vetting.

 

Are fakes a problem with Sam Doyle works? There were a few times people tried to pass things off as Sam Doyles, but they’re really quick and easy to spot. We won’t accept those pieces. Anytime money is involved, somebody will try to capitalize and make a quick buck.

 

So faking a Sam Doyle piece is harder than it looks? Right. A trained artist who mimics folk, self-taught, and outsider art still has training in art. After 25 years of doing this we’re pretty aware of what to look for.

 

Penn Drummer Boy is fresh to market–it went from Doyle to the consigner to Slotin. Is that rare? For Sam Doyle and for most of the works in the auction, that’s not rare at all. During the period of the 1970s, ’80s, and ’90s, collectors were visiting artists and buying directly from them. The original buyers have started getting older and need to figure out what to do with their art. If the children don’t want it, they sell it. We get a lot of stuff that’s never been sold or offered before.

 

As of April 6, 2018, about three weeks before the auction, Penn Drummer Boy has been bid up to $3,700. Does that mean anything? What you see online is basically lookie-loos. Most of the action on the piece will be in-house, online, or on the phone. The second that piece hits the auction block, and it’s on the block for 40 seconds to a minute, lots of hands in the auction will bid it up. $3,700 is nothing. It will hit the highest price in-house. That’s where it will go to $15,000, $20,000, $30,000.

 

What condition is it in? Self-taught artists, especially Sam Doyle, work with found material. This has rust, and holes for nails–that’s expected. You want to see that in a piece. You know it’s real. The colors are strong. It didn’t sit in the environment that long. It’s a pristine piece.

 

Why will Penn Drummer Boy stick in your memory? This is a really strong piece, in great condition. Those who bought it bought it right from the environment. I like everything it has going on. Everything you want to see in a Sam Doyle is there. It’s got the history. It’s got the colors. It’s easy on the eyes. It’s an all-around nice piece.

 

How to bid: Sam Doyle’s Penn Drummer Boy is lot 0132 in the Self Taught, Outsider & Folk Art sale on April 28 and 29, 2018 at Slotin Folk Art in Buford, Georgia.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Slotin Folk Art Auction.

 

Steve Slotin previously spoke to The Hot Bid about a sculpture by Ab the Flag Man which ultimately sold for $1,200.

 

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SOLD! This Vibrantly Colored William McKinley Campaign Poster from 1900 Fetched $11,875 at Heritage Auctions

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Update: The McKinley campaign poster from circa 1900 sold for $11,875.

What you see: A circa 1900 28-inch-by-42-inch near-mint condition campaign poster for President William McKinley, who was running for a second term. Heritage Auctions believes that the poster could sell for $10,000 to $15,000.

Who was William McKinley? He was the 25th president of the United States. He was a Republican and a Civil War veteran who defended the gold standard and led the country through the Spanish-American War, in which America gained Puerto Rico, Guam, and the Philippines (this last eventually became independent). He also annexed Hawaii. His vice president, Theodore Roosevelt, went on to become president in his own right. An assassin shot McKinley in September 1901 and he succumbed to his wounds about a week later. He was 58.

Do we know how this campaign poster came to be? And did the campaign know they had a winner on their hands with this image? No, and probably not. “The two times he ran for president, McKinley stayed home in Canton, Ohio, and delegations came to visit him,” says Don Ackerman, consignment director for historical Americana and political material at Heritage Auctions. “Millionaire Mark Hanna financed the entire campaign. Most campaign materials were purchased and used by local Republican clubs and organizations. They didn’t have to be authorized by the national Republican clubs. Posters like this may have been custom-ordered, or may have been produced for Republican clubs.”

What details in this circa 1900 poster might be lost on 21st century viewers? “The word ‘Civilization’ is an unusual usage. It ties in with the expansionism of 1898 and the war with Spain. Republicans supported imperialism and justified that by saying they were bringing civilization to backward peoples,” he says, laughing. “Part of that is you see factories belching smoke. That was considered a higher level of civilization over people who fished and farmed. The large gold coin says ‘Sound Money’ on it, and refers to the gold standard. It was a big issue in 1896 and 1900. McKinley’s opponent, William Jennings Bryan, advocated greater use of silver. Republicans said that would devalue the currency and cause inflation, and if we stuck to the gold standard, it would maintain its value.”

What other details stand out? “The glowing sunrise in the background. Sort of like ‘Morning in America.’ Everything is bright,” he says. “And you have shipping on the left hand side and factories on the right–business is booming, we’re selling overseas, factories are at capacity. McKinley is shown with the flag, in an appeal to patriotism and showing America as a dominant world power. He’s supported by a group of men from all aspects of society. The man in the blue suit is a sailor. One on the left is a soldier, there to appeal to people who served in the armed forces and the Civil War–McKinley served in the Civil War. The man with the silk top hat is a banker or an industrialist. The guy in the center might be a waiter–they usually don’t wear hats. The man in the pale green shirt is a workman. McKinley is appealing to all segments of the voting population.”

I can’t help but notice that everyone shown in the poster is a white man. Is that deliberate? “Except for Wyoming and Colorado, women couldn’t vote [in 1900],” he says. “This [poster] is not necessarily a snub of minority voters. There were ‘Colored Republican Clubs’. The Democrats were associated with the south, and with slaveholders. Blacks were loyal Republican voters from the time of Ulysses S. Grant to FDR or later. I think the Republican Party figured that black voters who were permitted to vote were going to vote for them anyway.”

Where were these posters displayed in 1900? “They were in local Republican headquarters or in store windows,” he said. “The owners weren’t afraid to offend their customers. If they liked the Republican candidate, they’d put the Republican poster in the window.”

Maybe ten of these posters exist. How might this one have managed to survive? “If somebody liked it and thought it was nice, they would fold it and put it away,” he says, noting that this example has folding creases in it. “That’s how they got saved. If it’s properly stored and the paper is good, the colors will still be bright. This has a minor chip, but nothing that affects the image.”

The colors on this poster really pop, particularly the red and blue of the flag, and the yellow of the coin. How close are they to the colors that the poster would have had when it was fresh off the stone lithographic press? “Pretty close. They’re not faded or anything,” he says. “The ink they used doesn’t fade naturally. As long as it’s not exposed to sunlight, the colors are going to be as vibrant as in 1900.”

How often does this poster appear at auction? “We’ve sold three of them in the past, for prices ranging from $10,000 to $17,000,” he says. “The one that sold for $17,925 probably is the record for this poster, but I can’t say definitively.”

Why will this poster stick in your memory? “It’s a masterpiece of graphic political Americana, and probably the best McKinley poster, for sure,” Ackerman says. “It’s head and shoulders above most of the stuff we see from the period. This really grabs you. Political posters of this quality were only issued between 1900 and 1904, and of the different designs known, this is the most appealing. It’s got all the great elements you want to see on a poster. It tells a story, it refers to policies that were prominent then, and it reflects the exuberance that people felt for the political process. It was a new century, a new age, and people really felt good about themselves.”

How to bid: The circa 1900 William McKinley campaign poster is lot #43382 in The David and Janice Frent Collection of Political & Presidential Americana, Part 2, taking place at Heritage Auctions on February 24, 2018.

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

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SOLD! An 18k Gold Freedom Box Awarded to Commodore Stephen Decatur in 1812 Fetches $70,000 at James Julia

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Update: The 18-karat gold Commodore Stephen Decatur freedom box sold for $70,000.

What you see: A 18-karat gold freedom box awarded to Commodore Stephen Decatur by the City of New York in 1812. The James D. Julia auction house estimates it at $125,000 to $175,000.

Who was Stephen Decatur? Born to a seagoing American family, Decatur became the young country’s first great naval hero by fighting the Barbary states–Mediterranean countries whose pirates had a nasty habit of capturing American vessels and ransoming their crews. (Do you remember the line from the U.S. Marines hymn, ‘From the Halls of Montezuma to the shores of Tripoli’? Tripoli is a reference to the Barbary Wars.) Decatur also distinguished himself in the War of 1812. He died in 1820 from a gunshot wound suffered in a duel with Commodore James Barron. Decatur was 41.

How did the custom of giving heroic people a gold freedom box get started? “The way it originated was the gold or silver box held the key to the city,” says John Sexton, senior consultant and sales representative in James D. Julia’s firearms division. “The ‘freedom box’ terminology comes from giving them ‘the freedom of the city.’ By this time [1812], they were just giving them the boxes.”

Why did the City of New York give Decatur this gold freedom box? During an October 1812 battle, he captured the HMS Macedonian, a 38-gun British frigate, saved it from sinking, and towed it to New York to be refitted and made part of America’s naval fleet. “It was the most important naval battle ever fought to that point,” he says. “Decatur was a household name in 1812. He was such a hero.”

How often do gold freedom boxes come up at auction? “The last one I could find was one awarded to John Jay and sold at Sotheby’s in 1991,” he says. “They’re beautiful boxes, exceptionally ornate. There’s another one in the sale from the Civil War that’s just as elaborate. They quit using the term ‘freedom box’ in the mid-19th century.”

Were the boxes meant to be used to hold anything, such as snuff? Or were they just meant to be beautiful boxes? “It was just the box, but they were snuff box-size,” he says.

The Decatur gold freedom box also has its red leather presentation case. Is that unusual? “It’s probably unique,” he says.

And the box is entirely made of gold? “It’s all gold, including the hinge,” he says. “There’s not a part that’s not.”

How does it feel to hold the box in your hand? “It’s quite heavy! It weighs 100 grams. It’s a nice, heavy little box,” he says. “Whoever did the engraving had a lot of skill. The engraving style is fantastic, beautiful–a lost art.”

How did you put an estimate on the Decatur box? “We made a conservative estimate,” he says. “We expect it to bring several hundred thousand dollars. Compared to John Jay, Stephen Decatur is probably more of a household name. But I don’t know what it will bring at auction.”

Decatur’s descendants have passed the box from generation to generation. Why are they consigning it now? “There are about 80 lots from the same family,” Sexton says, noting that the lots include the carnelian and gold signet ring that the Bey of Tunis surrendered to Decatur in 1805. It appears the current owner within the family thought it wiser to consign the material rather than try to split it among seven or eight heirs. “Decatur was a very important person in his day. The treasures he had were phenomenal,” he says. “It’s amazing that the family retained them.”

Why will this gold freedom box stick in your memory? “There are so few objects associated with someone as important as Stephen Decatur. There are 25 states that have cities named after him,” he says. “This is a piece of history. You just know it’s a gem. It’s something so unique and wonderful.”

How to bid: The Stephen Decatur gold freedom box is lot 2068 in James D. Julia’s Fine Art, Asian, & Antiques Winter 2018 sale, taking place February 8 and 9, 2018.

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Text is copyright Sheila Gibson Stoodley. Photograph courtesy of James D. Julia Auctioneers, Fairfield, Maine, USA, www.jamesdjulia.com.

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