RECORD! “The Foot” from the Opening Credits of a 1971 “Monty Python’s Flying Circus” Special Stomps to $22,000 at Vectis Auctions

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What you see: The Foot, a key paper cutout element used in the opening credits of a 1971 one-off Monty Python’s Flying Circus television special that was filmed in German. The piece may have been used in the opening credits of the main series. Vectis Auctions sold it for £16,800 (about $22,000) against an estimate of £400 to £600 (about $525 to $800) in July 2014. It’s a world auction record for a prop used to create the Monty Python’s Flying Circus television show.

 

The expert: Kathy Taylor, a specialist in the Vectis TV and Film Department.

 

Are you aware of any other Monty Python’s Flying Circus props coming to auction before Vectis sold The Foot? It’s unknown. I did try to research it when I received The Foot, but I couldn’t find anything. There have been animation storyboards on occasion, but nothing like this.

 

How did The Foot come to you? David Brookman [the consigner] telephoned us. He saw an article in the Sunday supplement about Vectis Auctions and he approached us with the idea that he could sell it. It was a piece of photographic paper, rolled up in a tube that he kept under his bed since he worked on the animation in 1971.

 

How did Brookman come to receive The Foot? He worked for a company that was asked to do the shots for the animation [of the one-off 1971 German-language special]. I think it was quite a brief time he worked with Terry Gilliam, a couple of days. When they finished, Gilliam asked would he like it, and he signed it. It was quite tatty.

 

We know The Foot was used for the opening credits of the German-language special, but was it used to film the credits for Monty Python’s Flying Circus? We don’t know for certain. I suspect a lot of these cutouts don’t survive. They were used and thrown away. Gilliam would rush in with a briefcase or a box of cutouts, tip everything out on the desk, and instruct the cameraman [who, in this case, was David Brookman] to photograph them in a certain way to make the animation. That’s why it’s so tatty. It’s seen quite a lot of life.

 

Do we have any idea how many photographic cutouts Gilliam made of this element of his animation? No idea. Maybe he has more than one. I don’t know if he kept others.

 

And Brookman kept The Foot in a tube under his bed until he brought it to you? It was probably in that state when he was given it. I don’t think he thought much about it. He unrolled it and it was quite large. I think it was two feet by 18 inches. It was quite fragile. He came up with the idea to frame it, to make it look a little better and to preserve it.

 

How did you come up with the estimate of £400 to £600? I’m guessing there were no similar things that sold at auction that you could look to… We had no idea what sort of money it could fetch. I thought £400 to £600 was a lot of money for a tatty bit of rolled-up paper, but it’s an iconic image we all remember. The sum was his expectation. We asked, “What’s the least amount of money you’re prepared to part with it for?” If it had achieved £400 to £600, he would have been happy.

 

What was your role in the auction? I was on the phone with a bidder. There was quite a lot of interest in The Foot. A lot of people thought they could afford it. People turned up in the room to bid, but they all dropped out. It did go to a telephone bidder.

 

What was your reaction to the sale of The Foot–watching it climb from three figures to five? It was pretty crazy [laughs]. Absolutely crazy. I wondered who these people were who would want it. Some were connected with Python. The vendor [Brookman] was sitting there going a very peculiar shade of pink.

 

I imagine you thought it would beat its estimate, maybe double or triple it, but you didn’t think it would go for £16,800… No, never in a million years. But it was lovely for the vendor, who looked after this thing all those years and never imagined it was worth that sort of money.

 

Why will this piece stick in your memory? Because it came from out of the blue, as things do here. I was twelve when Monty Python was popular on TV. We would reenact it at school. It was pretty amazing handling something that was so iconic and part of my youth and which we think of with such affection. The actual value of this piece is its strong provenance. To actually have someone consign who worked with Gilliam–there’s nothing better.

 

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A local English paper covered the July 2014 sale of The Foot and included an image of David Brookman holding the framed piece. It is surprisingly large.

 

Terry Gilliam lifted The Foot from a circa 1545 painting by Agnolo Bronzino most commonly known as Venus, Cupid, Folly and Time. It’s in the lower left corner.

 

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

 

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

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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

 

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RECORD! Julien’s Sells Marilyn Monroe’s “Happy Birthday Mr. President” Dress for $4.8 Million

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What you see: The gown that Marilyn Monroe wore to serenade President John F. Kennedy in May 1962 at a Democratic fundraiser that also marked his 45th birthday. Julien’s sold it in November 2016 for $4.8 million, a record for any dress sold at auction.

 

The expert: Martin Nolan, executive director of Julien’s Auctions.

 

Looking at black-and-white tape of Monroe’s performance on YouTube, it seems that a dimension has been lost. Can you talk about why the dress made the crowd gasp, and why JFK joked that he could “retire from politics after having had ‘Happy Birthday’ sung to him in such a sweet and wholesome way”? First of all, she had agreed that she’d wear a conservative black dress. But she knew the power of voting, and knew the power of singing at Madison Square Garden, and it was just before her 36th birthday. She was so in tune with the importance of that event. She took her white stole off and stepped to the left of the podium because she didn’t want it to block her in anyway. There was an amazing reaction when the lights bounced off the crystals–15,000 gasps. It looked like she was wearing nothing. You and I are talking about it today, and 50 years from now, we’ll talk about that moment.

 

So the skin-tight, flesh-colored dress was her idea? She asked [costumier] Jean Louis to make her something that would wow the crowd. Bob Mackie, who was just out of college and 22 years old, drew the sketches for the dress. We sold them a few years ago. 2,500 crystals were hand-stitched onto the dress. Monroe paid for it herself and had matching shoes. We sold the receipt for the dress as well. She spent $6,000 on it [the outfit and related items] which is over $60,000 today–a huge amount of money, a huge investment. She didn’t think about the cost factor. She was thinking about the ‘Wow’ factor. She was very aware of the importance of the event.

 

Could you talk about what Monroe went through when she wore this dress? I understand that she was sewn into it. Also, in looking at the period tape, her movements are clearly restricted. At one point we see her jumping very vertically to rally the crowd to sing. Was the dress as uncomfortable as it looked? The dress was fragile and difficult to walk in. The stitching was done just below the zip line at the back of the dress. It took a few minutes for her to get from the dressing room to the stage. It was distant, and she could not run, because she was wearing heels. She shimmied her way on stage, wrapped in the cloak, and master of ceremonies Peter Lawford announced her as “the late Marilyn Monroe.” Three months later, she was the late Marilyn Monroe. [She died on August 5, 1962.] Fox promised to fire her if she was late [she was filming Something’s Got to Give at the time, and the studio did not want her to travel across the country and potentially delay the shoot.] She risked it all to go to New York. When she got back, she was fired from the set.

 

Do we know where that white fur stole went? It got separated from the dress. Monroe passed away in August 1962. She had no family members. Attorneys for her estate put everything from her house into storage. The boxes got shipped back to Lee Strasberg [her  mentor and acting teacher], where they stayed until 1999. The dress was first uncovered for the Christie’s estate sale [in October 1999]. We have not found the fur stole, but believe me, I’m searching for it and the shoes.

 

How much more would the dress be worth if it were part of a complete stage-worn Marilyn Monroe outfit? It’d be hundreds of thousands extra if we found the shoes and the stole. It would be phenomenal to have them all together.

 

What condition is the dress in? It’s in perfect condition, absolutely perfect condition. The consigner [who won the Christie’s auction in 1999] enlisted experts to build a ‘conservative’ mannequin to preserve the shape of the dress. The knee is positioned out so it supports the weight of the dress. The special mannequin was in a special display case with UV-protective glass. Very clever. He [the winner] believed he’d sell it for a profit. The underbidder [in 1999] was Ripley’s Believe It or Not! When the dress came back to auction, Ripley’s was bound and determined not to let it get away.

 

Do we know how much the dress weighs? It would weigh several pounds. Place 2,500 crystals in a bag or a bowl–that’s a lot of weight right there.

 

How did you arrive at the estimate of $2 million to $3 million? We truly believed that if it fetched $1.27 million in 1999, there had to be a level of appreciation in the dress. It had to double its money. Its historic and political value, matched up with Hollywood history, affected the value of the dress. We felt it would sell for at least $2 million.

 

What was your role in the auction? I was on the phone with a museum. Everyone [who bid] had to be pre-qualified. It came down to two bidders in the room. The energy in the room was just phenomenal. Marilyn Monroe is beloved worldwide. She’s still relevant and still gets high prices.

 

Marilyn Monroe dominates the auction records for clothing, but it’s interesting that this dress, which she wore in real life, is now number one, ahead of a white dress she might have worn while standing over the subway grate in The Seven Year Itch. It’s definitely significant. She was not in character in a movie. This was purely Marilyn Monroe singing to JFK, a love affair made public. There was a lot of speculation and a lot of rumors about a romantic relationship between Monroe and JFK, and after this event, people realized there was something to the rumors [laughs]. She disregarded the 15,000 people in the room. It was just her and President Kennedy in those 90 seconds.

 

How long will this auction record stand? What else is out there that could beat it? I can’t think of anything else that would be so iconic.

 

Why will this dress stick in your memory? In 2005, I had a wish list. I said what I’d love to auction is Michael Jackson’s red jacket from Thriller, and that came true in 2011.  The next was Monroe’s Happy Birthday Mr. President dress. Now I’m looking for a pair of ruby slippers [worn in 1939’s The Wizard of Oz]. That could potentially be $5 million, but there’s only one Happy Birthday dress. It’s presidential history and Hollywood mixed together.

 

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

 

Martin Nolan previously spoke to The Hot Bid about a Joseff of Hollywood simulated diamond necklace worn by Hedy Lamarr, Ava Gardner, and several other Hollywood actresses; a once-lost 1962 Gibson acoustic guitar belonging to John Lennon that sold for $2.4 million–a record for any guitar at auction; and a purple tunic worn by Prince.

 

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RECORD! Prop Store Sold a Wooden Clapperboard from Steven Spielberg’s “Jaws” for More Than (Updated December 2018)

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Update: The Jaws clapperboard sold again as lot 1423 in a Profiles in History auction in December 2018. PIH estimated it at $60,000 to $80,000, and reported on its Twitter account that it sold for $128,000.

 

What you see: A wooden clapperboard that Steven Spielberg used on the set of the 1975 blockbuster horror movie, Jaws. Prop Store sold it in September 2016 for £84,000, or $109,000–a record for any filmset-used clapperboard at auction.

 

The expert: Stephen Lane, CEO and founder of Prop Store.

 

When did major film productions stop using wooden clapperboards and start using digital ones? That’s tough to answer. Probably in the early 1990s it started to happen. There are still productions today that use analog acrylic clapperboards. There’s still a crossover going on.

 

How often do set-used wooden clapperboards from legendary films come to auction? I don’t know of any clapperboards sold at this level previously.

 

What was the previous auction record for a set-used clapperboard? Probably a second unit Star Wars: The Empire Strikes Back clapperboard, which sold for £27,500 a few years ago. Clapperboards are something that collectors locked onto within the last five years. The collectors we speak with aspire to collect objects that were used before the camera.

 

It strikes me that even before the collecting mentality became ingrained, clapperboards were likely to have been saved because they say, ‘Hey! We made a film!’ Is that a fair assumption? It’s a double-edged sword. A lot of clapperboards come directly from crew members who worked on the films. A lot bring them home from every film they’ve ever worked on, and hang them on the wall and will never part with them. With some clapperboards, the information was taken off to rewrite it for the next film. I’ve seen clapperboards from Star Wars and Indiana Jones, but I’ve never seen one for Wizard of Oz or Gone With the Wind. They probably finished the film, got the paint off it, and got the clapperboard ready for the next film. There was a huge amount of recycling.

 

Have you handled any other clapperboards from Steven Spielberg films? We had a Raiders of the Lost Ark clapperboard in 2014, a small insert clapperboard. They make them in a variety of different sizes. For a shot on the top of a mountain in Lord of the Rings, they [the LOTR crew] made one that was 8 feet wide. I’ve seen other Indiana Jones ones but clapperboards are tough to pin down. There’s not a huge volume of those around and they don’t pop up very often.

 

What details on this clapperboard, aside from the obvious, prove that it is a genuine set-used clapperboard from the filming of Jaws? It’s incredibly distinctive. It’s very specific, with the cut teeth, which was hugely endearing to a number of collectors. And there’s a photo of Steven Spielberg holding the clapperboard on the set. It was not only used in Jaws and made for Jaws, Steven Spielberg held it on the set. That’s part of the huge appeal of this particular piece.

 

How big a deal is it to have this period photo of Spielberg holding the clapperboard? Would the clapperboard be worth less if the photo did not exist? Yes, I would say so. Because they were wiped and redetailed with chalk, it’s very unusual for final shot info to be retained on an individual clapperboard. A lot of these slates originated as rental items that productions used to hire. To get one with all the info on it and match it against a photo, it’s very tough.

 

Is it unique? No, I’ve had a couple of screen-matched boards in the past. But it’s rare, especially for a significant film.

 

Do we know how many clapperboards were made for Jaws and used on the set? There’s no record whatsoever. I can say quite comfortably that’s the only Jaws clapperboard that’s ever come to market.

 

As you mentioned before, the clapperboard is decorated with a line of shark teeth. If it lacked that cool little flourish, would it still have made a record price? Again it’s tough for me to speculate. I hadn’t seen a Jaws clapperboard before. I think it [the lack of the teeth detail] would have definitely impacted it, but I can’t say it’d be 20 percent less valuable. It is one of the most endearing features of the board.

 

How often do you see decorative flourishes like that on a clapperboard? Almost never. The most elaborate thing you get these days is the film logo laser etched on an acrylic clapperboard. You don’t see ones that are nearly as entertaining as this.

 

What was your role in the auction? I was in the room. I went and sat with the consigner. He wanted to be part of the experience of it selling. Because of the level of interest prior to the auction, we knew it was going to be an exciting moment. It got a massive amount of publicity. People loved it and the press ran with it. It was such an exciting moment for him and for me. He was over the moon, and I was over the moon with him.

 

Can you talk about how the consigner reacted? He got more and more excited. He looked at the screen, he looked at me, then back at the screen, and his jaw dropped a bit more. After it finished he had to leave the room, he was so excited. He had to have a drink to calm his nerves.

 

When did you know you had a new world auction record? By the time it got to £30,000. At that point, we were there.

 

How long do you think this record will stand? I haven’t seen anything that comes remotely close to this. Maybe if a Star Wars: A New Hope clapperboard came up, but it’s unlikely any survive. If a Wizard of Oz or a Gone With the Wind clapperboard came up, they’d be worth tens of thousands. This really was the perfect storm. An interesting-looking clapperboard, the most interesting film in Spielberg’s back catalog, brilliantly documented, and a huge amount of production use. It ticked all the boxes you want to tick.

 

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Prop Store’s September 20, 2018 auction will include Harrison Ford’s screen-worn Han Solo jacket from Star Wars: The Empire Strikes Back, Rose’s farewell note from Titanic, and also a Jaws lot with 40 storyboard pages and a crew t-shirt.

 

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

 

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SOLD! The Unique Ceiling Light that Graced the Lebanon Pavillion at the 1964 World’s Fair Commanded (Scroll Down to See)

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Update: The Sami El-Khazen/Arredoluce Torciere della Cultura ceiling light sold for $32,500.

 

What you see: A unique Torciere della Cultura ceiling light, designed by Sami El-Khazen and executed by Arredoluce between 1964 and 1965. Bonhams estimates it at $30,000 to $50,000.

 

The expert: Dan Tolson, specialist in modern decorative art and design at Bonhams.

 

What can you tell me about Sami El-Khazen, and about how he was chosen to design the Lebanon Pavillion at the 1964 World’s Fair? I can’t seem to find much. It’s incredibly hard to get info about him. I put hours upon hours into searching. He was in Lebanon in the 1950s, 60s, and 70s, when it was a cultural hotbed, the right time to be there. In 1988, he passed away. He was a vital designer, an architect, an unsung hero of modernism. [As for the story of how he was chosen to design a pavilion for the World’s Fair,] I’ve done a lot of research into it and it was not something I was able to discover. There’s relatively little in the Arredoluce catalogue raisonné, too. This piece is discussed in the opening, and they talk about him, but there’s no biography.

 

Do we know how long he’d been working with Arredoluce when he got the nod to create that World’s Fair Pavillion? No, we don’t know that either, or how it [the World’s Fair commission] came about. He designed it and Arredoluce provided all the manufacturing expertise. Arredoluce has been around since 1930. They were at the height of their success as a company [in the mid-1960s,] at the top of their game. It’s a piece of architecture in the way it’s been designed and put together.

 

Was the 1964 Lebanon Pavillion at the World’s Fair El-Khazen’s crowning achievement? From what I read about him, he was not a product designer, he was an architect. This may be the only thing he produced outside of architecture.

 

Do period photographs of the Lebanon Pavillion survive? Yes. The way you see the lamp, it extends down almost to the floor, like a stalactite. It was spectacular. It must have been ten feet in height. It must have been the centerpiece of the pavillion.

 

Why did El-Khazen and Arredoluce call it the Torciere della Cultura [lamp of culture]? I think it ties into what I was saying about Lebanon. In that period, they embraced modernity. It was a way of looking forward to the future. I think that’s what it was for them. It was made to symbolize Lebanon’s contribution to civilization and was designed to look like a tower of flame – representing the spread of Lebanese culture across the globe. It was exhibited in the pavilion’s Culture Room.

 

And the Shah of Iran saw the ceiling light and asked to buy it in 1965, or someone representing him did? That’s my supposition. There’s no discussion of that anywhere in the book [the Arredoluce catalogue raisonné], but I imagine he attended.

 

The lot notes say that the ceiling light “was sent to the Arredoluce factory in Monza [Italy] where it was dismantled and re-engineered into the present smaller proportioned work.” Do we know what, exactly, the artisans at Arredoluce did to modify the piece for installation in the dining room of the Shah’s palace? No, that’s not mentioned specifically. But it tapered to the floor, so it was cut down to a more user-size scale.

 

And let’s just stop here and discuss why it was okay to alter the light, and what made it okay. It was still a creation of Arredoluce. It [the changes] happened in El-Khazen’s lifetime, shortly after the show, and done with his approval. The ceiling light was completely impractical as it was. It was a huge thing, made into a more usable object.

 

Are there any period shots that show the ceiling light installed in the Shah’s palace dining room? No, there’s no interior shots, nothing that shows it in situ. It’s surprising how little information is out there about El-Khazen. Maybe it was destroyed in the war [the Lebanese Civil War, which lasted from 1975 to 1990].

 

So, when we’re talking about works by El-Khazen at auction… this ceiling light is pretty much it? Yes, this is it, which is why it resonates with us. As an auctioneer, it’s incredible to have something unique by a critically acclaimed company, Arredoluce, and which is shown in its catalogue raisonné. It ticks a lot of boxes. The fact that there’s not a lot known about El-Khazen makes it more beguiling. The other thing that appeals to us is it was in the 1964 World’s Fair. It was legendary at the time.

 

And this sold once before at auction, in 1985, but we don’t know which house sold it? No. The seller’s grandparents bought it. He does not recall where they bought it. He thinks it sold for around $70,000, which in 1985 is quite significant.

 

And 1985 predates most of the available online auction archives. Yes, exactly. It gets patchy even past 15 years on Artnet.

 

What condition is the ceiling light in? It’s in excellent condition. It was rewired for the U.S. [electrical system] in 1985, but it hasn’t been updated since then. The bulbs have not been modernized. It’s in working order, and it’s been very well-cared-for.

 

How many pieces comprise the ceiling light? It has about 170 individual pieces.

 

Are they fixed in place, or is there any play or give? No. It’s amazingly well-engineered. It tessellates together, firmly into place.

 

I see that it is strictly described as a “ceiling light,” never a “chandelier,” which people would expect to wiggle and sway a little. Yes, exactly. It’s quite densely packed. It’s a complex piece.

 

This is a unique lighting design, and it seems to be the only thing El-Khazen designed that isn’t a building. How did you arrive at the estimate of $30,000 to $50,000? We looked at comparables [somewhat similar things that sold at auction in the past] for Italian lighting–prices for rare or unique lamps by Stillnovo and Arredoluce. But you can’t be precise with something unique. It comes down to what people are willing to pay for. It’s not only unique, it’s by a top manufacturer in Italy at the time, and it has historic connections with the 1964 World’s Fair. There’s a lot of good factors that make it highly collectible, and the Middle Eastern feature makes it collectible as well. [With this,] you can’t hold out for a second. That gets people’s attention. It should really go above the top estimate.

 

What’s it like in person? It’s absolutely incredible. It’s got great presence. It’s obviously quite masculine, quite powerful.

 

Is it heavy? Very heavy. It’s bronze, nickel-plated bronze. It’s a very serious weight.

 

The Shah of Iran put this ceiling light in his palace dining room. Where could someone put it today? If the entryway in your home has a double-height ceiling, it would work. It’s the focal point of a room. Though it’s reduced in scale, it’s a great conversation piece to have in a modern home.

 

Why will this ceiling light stick in your memory? I’ve been doing this for 20 years, and I’ve never seen anything like it. It’s so unique. It speaks volumes of El-Khazen’s vision for design. It’s spectacular. There’s definitely an unwritten story somewhere.

 

How to bid: The unique mid-century ceiling light is lot 93 in Bonhams‘s Modern Decorative Art + Design sale on December 14, 2018 in New York.

 

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Arredoluce has a website (but it’s Italian-language only).

 

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

 

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RECORD! SCP Sells Michael Jordan’s Game-worn 1984 Olympic Gold Medal Sneakers for More Than $190,000

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What you see: A pair of size 13 Converse sneakers that Michael Jordan wore during the 1984 Olympics, when the U.S.A. basketball team won the gold medal. SCP Auctions sold them for $190,372 in June 2017–a record for a game-worn pair of basketball sneakers.

 

The expert: David Kohler, president of SCP Auctions.

 

Where do game-worn sneakers rank among game-worn basketball items? Are they second to game-worn jerseys? As far as game-worn items go, yes, they’re second to jerseys. When game-worn shoes have great provenance and are documented, there’s great demand. We didn’t expect them to go to $190,000, but you can see how that can happen.

 

Does Michael Jordan dominate the game-worn basketball sneaker market? I’d say Jordan is number one for a few reasons. He was prone to giving out shoes and signing them, and Jordan had his own brand issues. The rest love Stephen Curry, Kevin Durant, and LeBron James. In the 1950s, 1960s, and 1970s, no one was saving shoes. They threw them away. By the mid-80s or so, you had players signing shoe deals and getting paid to wear shoes. There’s a whole huge industry that didn’t exist for the players from earlier years. Heck, today, some players wear their shoes for one game. A lot of them have their own orthotics that they slip into their shoes. Some wear a different color of shoes depending on their uniform.

 

Where was Jordan in his basketball career in 1984? He was pretty big-time. He didn’t have a shoe line yet. He was very much on the map and was wearing Converse.

 

Does the fact that the sneakers are Converse brand hurt their value? No. It’s not a negative at all. There was a lot of demand for these shoes, which were one of the last two pairs that he wore as an amateur. The next year, he was a pro. The provenance was exceptional. Former Laker Gail Goodrich was in charge of the basketball event, and his son was a ball boy. Jordan signed both shoes. The story is he gave the shoes to the ball boy, and the boy was literally almost out of the arena when Jordan saw him running back, and said, ‘I knew you were going to come back. I didn’t sign these.’

 

How unusual is it to have such a strong provenance for a pair of game-worn basketball sneakers? It’s very rare, and that’s what we love about the piece. We knew that it would bring big demand at auction. Michael Jordan, the star of the U.S. Olympic team, the shoes he wore, signed, from the ball boy–you can’t really write the story better than that.

 

How do these 1984 Michael Jordan Olympic basketball sneakers compare to his game-worn sneakers from the 1992 Dream Team Olympics? We have had a pair of Dream Team sneakers. It brought around $20,000. If we knew the sneakers were from the final Dream Team game, they would have brought big money, like these. The 1984 pair were from a time when Jordan wore only two pairs [for the entire Olympic run]. Eight years later, players were wearing one pair per game. It was a different time and era.

 

Game-worn items can be tricky in that you want them to show some wear, but not too much. What condition are these sneakers in? These had all the appropriate wear you want–the vintage look of it, but not starting to be damaged, or in the sun. The colors have started toning, which is natural for them being 34 years old. They’ve been in a closet in a box for years.

 

I understand there’s a letter of authenticity for each sneaker. Is that typical for game-used basketball sneakers? There’s a letter from the consigner about the provenance, and then the third party grader did a letter for each shoe to address each autograph.

 

Has the other pair of Jordan-worn 1984 Olympic sneakers gone to auction? They came up in 2015. We did not handle them then, and they didn’t meet the reserve. Since that sale, they were consigned to us, and they brought almost $90,000. They brought less because they were not from the gold medal-winning game, but they were very similar.

 

What was the previous record for a pair of game-worn basketball sneakers? A pair of Michael Jordan-worn shoes from the flu game. [In 1997, Jordan played in Game 5 of the NBA finals against the Utah Jazz, scoring 38 points and helping his team win despite suffering from either the flu or food poisoning.] That pair sold for around $100,000.

 

How long do you think this record will stand? Interesting question. Certainly if you had the shoes that Wilt Chamberlain wore in the 100-point game, and the provenance was airtight, but I doubt those exist. They’d have to be over the top in basketball history.

 

Why will these Jordan-worn sneakers stick in your memory? It’s Michael Jordan, it’s the Olympics, it’s the gold medal. Jordan telling the ball boy, ‘Hey, I’ve got something for you after the the game.’ Just the story behind it.

 

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

 

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SOLD! Wanda Gág’s Spellbinding 1938 Study for “The Poisoned Apple” Commanded (Scroll Down to See)

M38702-7 006

 

Update: Wanda Gág’s study for The Poisoned Apple sold for $5,000.

 

What you see: The Poisoned Apple, a study by Wanda Gág [pronounced ‘Gahg’] for an illustration in a 1938 edition of Snow White and the Seven Dwarfs. Swann Auction Galleries estimates it at $5,000 to $7,000.

 

The expert: Christine von der Linn, specialist in art books and original illustration at Swann Auction Galleries.

 

How did this Snow White book project come about? Was it a reaction to the Disney film Snow White and the Seven Dwarfs? It is, it absolutely is. 1937 was the Disney film. While it was popular and became an iconic film, the depiction of the witch frightened children. Because of that, one year later, Anne Carroll Moore, a writer, reviewer, and critic of children’s books and an advocate for children’s libraries, wanted to go back to the original Brothers Grimm and soften some of the elements that Disney portrayed.

 

How did the 1938 version achieve what Moore wanted? It keeps more of the folkloric charm of the original. You asked if the fact that Gág translated it herself, if it shaped the story–it did. Gág’s father was from Bohemia, and they moved to Minnesota. She grew up with those fairy tales and stories. She understood folklore and fairy tales, and she knew the language. She was able to translate it and come up with a more accurate version of the Brothers Grimm tale.

 

The study for The Poisoned Apple is far more elaborate than the same scene in the Disney movie. Can you talk about how Gág approached this scene, and how she chose certain details? In the original Grimm, the queen made four attempts to kill Snow White…

 

It sounds kind of like the Michael Palin character in A Fish Called Wanda trying to kill the old lady and accidentally killing her dogs instead. Exactly! Exactly. The queen tries her damnedest. She comes to the door as a corset peddler. The dwarfs told Snow White was told she was not supposed to answer the door to anyone. The queen puts her in a corset and ties her in so tightly that she passes out. The dwarfs find her and revive her. Next, she went as a comb vendor. The different attempts to disguise herself are discarded on the floor [the pile of masks and clothes at the left of the illustration]–the peddler didn’t work, the comb didn’t work. She gets her with the poisoned apple. Snow White was hesitant to take it. She had the good sense to be wary. The queen makes the apple half poison and half safe, and takes her bite out of the apple pulp side, the safe side. I love that Gág is showing the recipe, how she created the poisoned apple to give to her stepdaughter. It looks kind of delightful until you look at the elements and realize how dark they really are.

 

The late 1930s were a time when the notion of “better living through chemistry” wasn’t laughable. Nylon had been invented a few years earlier. Do you think that the positive view of chemical breakthroughs shaped how Gág approached this illustration? The Disney scene has the witch standing over the traditional cauldron, but this scene is half lab, half kitchen. It’s an interesting connection to make, but I’m not sure if I’d 100 percent go there. Domestic science came in the teens. By 1937 and 1938, it was established. You definitely have those elements to it.

 

How different is the study from the illustration that appears in the book? Not terribly. It takes you a while to realize the differences. The composition is almost identical. In the book version, she defines the elements more. The vapors coming off the apple look more like a corona. It’s interesting to see the subtleties of how she directs the eye.

 

I don’t have the Brothers Grimm version of Snow White in front of me, and I can’t recall it, but wouldn’t it have been harsher than the Disney version? It was. In the movie, the dwarfs dance around her and love Snow White. It’s symbiotic. In the book, they’re almost like little opportunists:”You can stay here and we will help keep you protected if you become our housekeeper.” They’re in the more classic tradition of dwarfs as mischievous and devious. They’re going to use her services. In the movie, when she falls under the spell, they put her in a glass coffin. In the book, the prince decides to take Snow White to a better resting place and attempts to move her to his castle, and one of his carriers trips. An act of clumsiness dislodges the apple from her throat and wakes her. She and the prince then decide to get married. In dark, grim fashion, the prince reveals to Snow White that the queen tried to murder her. They make the queen wear molten hot dance shoes and in a messed up Circus Maximus scene, they make her dance until she dies and they carry on with the rest of the wedding. Gág kept it. It’s still a violent image, but she kept it.

 

Is this the first piece of art from the Snow White book to come to auction? I didn’t find any others when I searched the Swann online archives. It is our first Snow White. Her other work does come up. She was a printmaker and a very skilled lithographer. The record-keeping for her work is really erratic. We seem to have the top price for a fine art work by her [an undated print, titled Outside Looking In, which sold in September 2008 for $6,480]. Skinner sold an ink on paper of a cat in a laundry basket in May 2016. That could be the top price for a Wanda Gág illustration.

 

Where are the rest of Gág’s illustrations for the Snow White book? The rest reside in the Kerlan collection at the University of Minnesota. Minnesota is where she grew up. A couple of studies have entered the market. The provenance for this piece is it was acquired by a German rare book and manuscripts dealer, Walter Schatzki. He had them and then he sold them in the early 1970s to another dealer, Justin G. Schiller. It went from Schiller to the current owner. That’s one of the reasons why the price is higher. It’s her best-known work outside of Millions of Cats. It’s a crucial scene from the book, and you can’t acquire [the final illustration] because it’s in the Kerlan collection.

 

What are the odds that The Poisoned Apple will set a new record for Gág at auction? The estimate straddles the price of Outside Looking In. It might, it might. I’d like to see it set a record. We’re still celebrating the 80th anniversary of the movie and the publication of the book. It’s one of her most important and defining creations. And this is its first time at auction. With enough luck and enough bidders, we’ll see it set a new record.

 

Why will this piece stick in your memory? [Laughs] A couple of reasons. I like it because, in general, I love food and fairy tale images. For me, it’s a two-in-one. I’m the vice president of a local farmer’s market. I often deal with farmers and apples. I love any illustration that’s food- and fairy tale-based. I also like that it’s cartoon-like. The dark, thick lines lend that element to it.

 

How to bid: The study for The Poisoned Apple is lot 22 in Swann Auction Galleries‘s Illustration Art sale on December 6, 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.

 

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

 

Christine von der Linn has appeared before on The Hot Bid, speaking about an Arthur Rackham illustration of Danaë and the Infant Perseusa Rockwell Kent-illustrated edition of Moby Dick and original Erté artwork for a 1933 Harper’s Bazaar cover.

 

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