Category: Pop Culture

SOLD! Swann Sold That 1927 Josephine Baker Movie Poster For (Scroll Down to See)

  
A 1927 Swedish movie poster for Josephine Baker's silent film The Siren of the Tropics. It depicts her smiling directly at the viewer, wearing a scanty costume of strategically placed strings of pearls. She also wears pearl arm cuffs, elaborate pearl earrings. A large fan of red feathers, evidently attached to her back, spreads behind her.

Update: The 1927 Josephine Baker poster commanded $9,750.

What you see: A 1927 Swedish movie poster for Josephine Baker’s silent film The Siren of the Tropics. Swann Galleries estimates it at $12,000 to $18,000.

The expert: Nicholas Lowry, director of Swann Galleries.

This poster image is based on a color photograph from an interior page of a Folies Bergère program. How common was it to base poster graphics on photos in the late 1920s? Is this unusual? Good question. I don’t know the answer to that. Some posters were photographic. I’m not sure I know of others, but the fact that it’s unusual doesn’t make it important.

Can we tell by looking how the poster artist sized up the photograph? Did they just blow up the photo, or did they trace it or draw it? It has been enlarged, to be sure. I assume it would have been hand-drawn, but I’m not sure about that at all.

The original photo was in color. Did the poster artist change the colors, or are these the same colors in the Folies Bergère program photograph? The colors are basically the same. It’s not like they were changed from red to blue. The only change was to cover up her immodesty.

It’s interesting that the poster artist went with the same colors seen in the picture, rather than brighter colors that are more suited to the poster medium. I think the poster attracts attention very well without bright colors. Forget the fact that she’s scantily clad–it’s an incredible getup. And it’s a great portrait of her.

M38503-2 001

The movie the poster advertises, The Siren of the Tropics, had its world premiere in Stockholm. Do we know why the premiere was held there rather than, say, Paris? I haven’t found anything about that anywhere. But there was a Swedish fascination with Josephine Baker. They were transfixed by her. All of Europe was transfixed by her to some degree.

It’s an odd choice of venue for a Josephine Baker film debut. I couldn’t agree more. I do think the fact that the image is from the Folies Bergère program and not from the film–I think it must have been done quickly. Maybe that’s why they used an image that already existed. The show from the Folies Bergère has nothing to do with the movie. I don’t think she wears the pearls and feathers costume in the film.

The poster artist definitely altered the picture when translating it into a poster. What, exactly, was added? Her nipples [are covered], and four strands of pearls emanating from each of her pasties have been added. [You can see the original photo at this link.]

M38503-2 001

It looks like whoever added the pasties and pearls for the poster version did a good job. Is the touch-up work more obvious in person? It took a while to make the realization that [the original] is not covered up. Certainly, the work is good. Seamlessly done. It looks like how it was meant to be.

And this is the only copy of the poster that has come to auction? It has been seen before, but it has never come up for sale before. Given how popular Josephine Baker is, and that it was a world premiere of a film, you’d think more copies would surface, but none have come to market.

Baker isn’t shown topless, but the poster is still pretty risqué. Where would this have been displayed in Sweden in 1927? Presumably, it was hung up all over Sweden. That doesn’t explain why so few have surfaced. [They would have] posted them wherever they could to get the maximum effect from the advertising.

M38503-2 001

And some of them, certainly, would have been stolen by fans… Stolen, peeled off, maybe a remainder was not posted. It’s a sexy image, even if you don’t like it. I do think it’s eye-catching. She has a very becoming smile, and she’s staring right at you. A fetching pose, an improbable costume. People walking down the street would think, “WTF is that?” She was topless in the Folies Bergère program, but that’s a lot less public than a poster siding.

How did the poster come to you? Through the inventory of a dealer who passed away. I think it was purchased in the last five years.

You’ve given it a condition grade of B. Collectors would prefer a higher grade, but does that matter when a poster is unique? It’s not a situation where you can sit back and wait for another to come along. There’s no indication there’s another one out there. They have to be forgiving.

How did you arrive at the estimate? It’s based on sales of other Josephine Baker posters. Baker is one of the most sought-after music hall performers of her time. Like Chaplin and the Titanic, her name really transcends her genre. She was a black woman making her name performing half-naked in France. That could not happen in America. From a racial point of view, it’s astounding. And it was incredible for a black woman to appear in a movie. Not only appear in it, but star in it.

Does the silent film the poster advertises survive? Clips are online. The film was panned, but it’s certainly around.

M38503-2 001

How does this Josephine Baker poster measure up to other posters that feature her? It’s a great depiction of her. We’ve sold several Josephine Baker posters over the years. Some sell for $25,000 to $45,000. This one combines scarcity, an appealing image, and a performer who is remembered and sought after in the collectors’ market. For example, two years ago, we had the French version of Siren of the Tropics poster. It didn’t actually sell. If you looked at it, you couldn’t tell it was Josephine Baker. In 2010, we sold a Danish poster for her film Princess Tam Tam for $9,000.

Are there other Josephine Baker posters from her lifetime that are based on photos? There’s one from the end of her career that’s very horrible and very common, which sells for $600 on a good day. It’s not a good comparison. None of the others are photographic.

M38503-2 001

Why will this poster stick in your memory? Several reasons. It’s a sexy image. It really is a rare Josephine Baker piece. It’s a very good poster, because it’s a good likeness of her. And as a poster geek, I appreciate that no others have come up for sale publicly.

How to bid: The Swedish movie poster for Josephine Baker’s 1927 silent film, The Siren of the Tropics, is lot 429 in the Vintage Posters sale at Swann Galleries on February 7, 2019.

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.

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

Nicholas Lowry has appeared several times on The Hot Bid. Read past entries in which he  talks about a 1928 Roger Broders poster that later sold for $7,500, Swann setting the world auction record for any travel poster, a 1938 London Transport poster by Man Ray that ultimately sold for $149,000, a trio of Mont Blanc posters from 1928, a mid-1930s German travel poster featuring the Hindenburg, a 1968 MoMA poster by Japanese artist Tadanori Yokoo, an I Want You1917 World War I recruiting poster that introduced the modern concept of Uncle Sam, and an Alphonse Mucha poster featuring Sarah Bernhardt.

Image is courtesy of Swann Auction Galleries.

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

A Josephine Baker Movie Poster from 1927 for $18,000

 
A 1927 Swedish movie poster for Josephine Baker's silent film The Siren of the Tropics. It depicts her smiling directly at the viewer, wearing a scanty costume of strategically placed strings of pearls. She also wears pearl arm cuffs, elaborate pearl earrings. A large fan of red feathers, evidently attached to her back, spreads behind her.

What you see: A 1927 Swedish movie poster for Josephine Baker’s silent film The Siren of the Tropics. Swann Galleries estimates it at $12,000 to $18,000.

The expert: Nicholas Lowry, director of Swann Galleries.

This poster image is based on a color photograph from an interior page of a Folies Bergère program. How common was it to base poster graphics on photos in the late 1920s? Is this unusual? Good question. I don’t know the answer to that. Some posters were photographic. I’m not sure I know of others, but the fact that it’s unusual doesn’t make it important.

Can we tell by looking how the poster artist sized up the photograph? Did they just blow up the photo, or did they trace it or draw it? It has been enlarged, to be sure. I assume it would have been hand-drawn, but I’m not sure about that at all.

The original photo was in color. Did the poster artist change the colors, or are these the same colors in the Folies Bergère program photograph? The colors are basically the same. It’s not like they were changed from red to blue. The only change was to cover up her immodesty.

It’s interesting that the poster artist went with the same colors seen in the picture, rather than brighter colors that are more suited to the poster medium. I think the poster attracts attention very well without bright colors. Forget the fact that she’s scantily clad–it’s an incredible getup. And it’s a great portrait of her.

M38503-2 001

The movie the poster advertises, The Siren of the Tropics, had its world premiere in Stockholm. Do we know why the premiere was held there rather than, say, Paris? I haven’t found anything about that anywhere. But there was a Swedish fascination with Josephine Baker. They were transfixed by her. All of Europe was transfixed by her to some degree.

It’s an odd choice of venue for a Josephine Baker film debut. I couldn’t agree more. I do think the fact that the image is from the Folies Bergère program and not from the film–I think it must have been done quickly. Maybe that’s why they used an image that already existed. The show from the Folies Bergère has nothing to do with the movie. I don’t think she wears the pearls and feathers costume in the film.

The poster artist definitely altered the picture when translating it into a poster. What, exactly, was added? Her nipples [are covered], and four strands of pearls emanating from each of her pasties have been added. [You can see the original photo at this link.]

M38503-2 001

It looks like whoever added the pasties and pearls for the poster version did a good job. Is the touch-up work more obvious in person? It took a while to make the realization that [the original] is not covered up. Certainly, the work is good. Seamlessly done. It looks like how it was meant to be.

And this is the only copy of the poster that has come to auction? It has been seen before, but it has never come up for sale before. Given how popular Josephine Baker is, and that it was a world premiere of a film, you’d think more copies would surface, but none have come to market.

Baker isn’t shown topless, but the poster is still pretty risqué. Where would this have been displayed in Sweden in 1927? Presumably, it was hung up all over Sweden. That doesn’t explain why so few have surfaced. [They would have] posted them wherever they could to get the maximum effect from the advertising.

M38503-2 001

And some of them, certainly, would have been stolen by fans… Stolen, peeled off, maybe a remainder was not posted. It’s a sexy image, even if you don’t like it. I do think it’s eye-catching. She has a very becoming smile, and she’s staring right at you. A fetching pose, an improbable costume. People walking down the street would think, “WTF is that?” She was topless in the Folies Bergère program, but that’s a lot less public than a poster siding.

How did the poster come to you? Through the inventory of a dealer who passed away. I think it was purchased in the last five years.

You’ve given it a condition grade of B. Collectors would prefer a higher grade, but does that matter when a poster is unique? It’s not a situation where you can sit back and wait for another to come along. There’s no indication there’s another one out there. They have to be forgiving.

How did you arrive at the estimate? It’s based on sales of other Josephine Baker posters. Baker is one of the most sought-after music hall performers of her time. Like Chaplin and the Titanic, her name really transcends her genre. She was a black woman making her name performing half-naked in France. That could not happen in America. From a racial point of view, it’s astounding. And it was incredible for a black woman to appear in a movie. Not only appear in it, but star in it.

Does the silent film the poster advertises survive? Clips are online. The film was panned, but it’s certainly around.

How does this Josephine Baker poster measure up to other posters that feature her? It’s a great depiction of her. We’ve sold several Josephine Baker posters over the years. Some sell for $25,000 to $45,000. This one combines scarcity, an appealing image, and a performer who is remembered and sought after in the collectors’ market. For example, two years ago, we had the French version of Siren of the Tropics poster. It didn’t actually sell. If you looked at it, you couldn’t tell it was Josephine Baker. In 2010, we sold a Danish poster for her film Princess Tam Tam for $9,000.

Are there other Josephine Baker posters from her lifetime that are based on photos? There’s one from the end of her career that’s very horrible and very common, which sells for $600 on a good day. It’s not a good comparison. None of the others are photographic.

M38503-2 001

Why will this poster stick in your memory? Several reasons. It’s a sexy image. It really is a rare Josephine Baker piece. It’s a very good poster, because it’s a good likeness of her. And as a poster geek, I appreciate that no others have come up for sale publicly.

How to bid: The Swedish movie poster for Josephine Baker’s 1927 silent film, The Siren of the Tropics, is lot 429 in the Vintage Posters sale at Swann Galleries on February 7, 2019.

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.

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

Nicholas Lowry has appeared several times on The Hot Bid. Read past entries in which he  talks about a 1928 Roger Broders poster that later sold for $7,500, Swann setting the world auction record for any travel poster, a 1938 London Transport poster by Man Ray that ultimately sold for $149,000, a trio of Mont Blanc posters from 1928, a mid-1930s German travel poster featuring the Hindenburg, a 1968 MoMA poster by Japanese artist Tadanori Yokoo, an I Want You1917 World War I recruiting poster that introduced the modern concept of Uncle Sam, and an Alphonse Mucha poster featuring Sarah Bernhardt.

Image is courtesy of Swann Auction Galleries.

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

RECORD! The Monty Python Foot Stomps to $22,000 at Vectis Auctions

The Foot, aka the Monty Python foot, a paper cutout from an Old Master painting that Terry Gilliam blew up and used in the opening credits of Monty Python's Flying Circus. He signed this example on its ankle.

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 Monty Python 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 Monty Python 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 Monty Python 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 Monty Python 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 Monty Python 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.

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.

Vectis Auctions is on Twitter.

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.

Image is courtesy of Vectis 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.

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

 
Marilyn Monroe's Happy Birthday Mr. President dress is flesh-colored and covered with 2,500 crystals that were hand-sewn on.

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 Marilyn Monroe’s “Happy Birthday Mr. President” Dress 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 Marilyn Monroe’s Happy Birthday Mr. President 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 Marilyn Monroe’s Happy Birthday Mr. President 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 for Marilyn Monroe’s Happy Birthday Mr. President dress? 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 Marilyn Monroe’s Happy Birthday Mr. President dress? 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.

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.

Julien’s Auctions is on Twitter and Instagram.

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.

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 First TCB Necklace That Elvis Presley Gave Away Sold For… (Scroll Down to See)

A 14k gold necklace with a Taking Care of Business (TCB) logo, given by Elvis Presley to Sonny West circa 1970.

Update: The Taking Care of Business necklace that Elvis Presley gave to Sonny West sold for $38,400.

What you see: A 14k gold necklace with a Taking Care of Business (TCB) logo, given by Elvis Presley to Sonny West circa 1970. Julien’s Auctions estimates it at $30,000 to $50,000.

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

What was the Memphis Mafia, and how did it serve Elvis Presley? “Memphis Mafia” was the name given to the group of friends and close confidants of Elvis Presley. The media gave them the name “Memphis Mafia” around 1960. Elvis liked the name and it stuck.

Where did the phrase “Taking Care of Business” come from? Elvis’s band was called Taking Care of Business. He always gave away gifts, especially jewelry, and he came up with the idea for an identifying piece of jewelry that he only gave to the Memphis Mafia. There were probably 12 to 20 people [in the group]. Elvis loved Taking Care of Business. It was the logo on his plane. Priscilla was involved with the design of the logo. They were on the plane when a lightning bolt went through it. She got out her sketch pad and came up with Taking Care of Business in a flash.

When did that happen? We don’t know for sure, but we presume it was the late 1950s or early 1960s, probably after he came out of the military.

How was the material and the carat weight chosen? Elvis loved bling, he loved gold. There were some variants on the necklace. The one he gave Doctor Nick [George Nichopoulos, Presley’s personal physician] had diamonds on it. We sold that one for $120,000. The overall look of the 14k gold necklace is probably based on a collaboration with the jeweler in Beverly Hills and what they could do within their budget.

This is believed to be the first Taking Care of Business necklace that Elvis Presley gave out. Does that make it more interesting to collectors? Yes. Collectors love something when it’s original, or the first. TCB went on to be a significant Elvis signature, in a way. Its being the first definitely adds value on auction day.

Why is Sonny West a logical recipient of the first Taking Care of Business necklace? He was Elvis’s bodyguard, responsible for security at his concerts. He was one of the original members of the Memphis Mafia, which was a very close, tight circle. My guess is because he was Elvis’s bodyguard, he was right there when Elvis went to the jewelry shop in Beverly Hills. Because he was right there, and a member of the Memphis Mafia group, he got the first necklace.

Do the Taking Care of Business necklaces always look like this one does, or did the design change over time? They’re not all exactly the same. The TCB logo with the flash remains the same, but the chains change.

How many owners did the necklace have after Sonny West relinquished it? He passed it on to the consigner, who brought it to us. Jeffrey, the consigner, created a video which is on our site of Sonny West taking the necklace off himself and putting it on Jeffrey. The provenance is 100 percent solid. That plays into the value.

How many Taking Care of Business necklaces have you handled, and how many Taking Care of Business necklaces did Elvis give out? Do we know? I think we’ve handled four to six—probably four, with two coming back to auction again. I don’t know how many there are, but there were somewhere between 12 and 20 people in the Memphis Mafia. Not a huge amount. Maybe 30, max.

Do any period photos exist of Sonny West wearing the TCB necklace and standing alongside Elvis? I presume there would be period photos. He was with Elvis for 16 years, and he was with Elvis a lot. We didn’t license any, but I’m sure there are photos.

How did you arrive at the estimate of $30,000 to $50,000 for the TCB necklace? Obviously we looked at the intrinsic value first. Then we looked at other TCB necklaces we’ve sold. The provenance is so solid because of Sonny West. Then there’s the collectibility of Elvis himself. He has a huge amount of fans out there.

As of October 19, the TCB necklace has its first bid, amounting to $7,500. Does that mean anything? No, it doesn’t mean anything. But we have 55,000 views on this auction already. To have so many so early on, that’s amazing.

What condition is the TCB necklace in? It’s in great condition, given its age and the life it’s had up to now.

Why will this particular TCB necklace stick in your memory? The fact that it was the first one–wow, it was the start of something. The very first one created, for Sonny West, the bodyguard and confidant of Elvis. Within the history of Elvis and the Memphis Mafia, it’s almost like branding, or a tattoo. Taking care of business in a flash was what the Memphis Mafia represented: getting business done. That was what was important to Elvis.

How to bid: The TCB necklace is lot 466 in the Icons and Idols: Rock “N” Roll auction Julien’s will hold in New York on November 9 and 10, 2018.

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.

Julien’s Auctions is on Twitter and Instagram.

Image is courtesy of Julien’s Auctions.

Martin Nolan previously spoke to The Hot Bid about a purple Prince-worn tunic that the star donned for a 1998 BET interview, which yielded a famous GIF; a Joseff of Hollywood simulated diamond necklace worn by Hedy Lamarr, Ava Gardner, and several other Hollywood actresses, as well as a once-lost 1962 Gibson acoustic guitar belonging to John Lennon that sold for $2.4 million–a record for any guitar at auction.

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

The First TCB Necklace That Elvis Presley Gave Away Could Sell for $50,000 at Julien’s

A 14k gold necklace with a Taking Care of Business (TCB) logo, given by Elvis Presley to Sonny West circa 1970.

What you see: A 14k gold necklace with a Taking Care of Business (TCB) logo, given by Elvis Presley to Sonny West circa 1970. Julien’s Auctions estimates it at $30,000 to $50,000.

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

What was the Memphis Mafia, and how did it serve Elvis Presley? “Memphis Mafia” was the name given to the group of friends and close confidants of Elvis Presley. The media gave them the name “Memphis Mafia” around 1960. Elvis liked the name and it stuck.

Where did the phrase “Taking Care of Business” come from? Elvis’s band was called Taking Care of Business. He always gave away gifts, especially jewelry, and he came up with the idea for an identifying piece of jewelry that he only gave to the Memphis Mafia. There were probably 12 to 20 people [in the group]. Elvis loved Taking Care of Business. It was the logo on his plane. Priscilla was involved with the design of the logo. They were on the plane when a lightning bolt went through it. She got out her sketch pad and came up with Taking Care of Business in a flash.

When did that happen? We don’t know for sure, but we presume it was the late 1950s or early 1960s, probably after he came out of the military.

How was the material and the carat weight chosen? Elvis loved bling, he loved gold. There were some variants on the necklace. The one he gave Doctor Nick [George Nichopoulos, Presley’s personal physician] had diamonds on it. We sold that one for $120,000. The overall look of the 14k gold necklace is probably based on a collaboration with the jeweler in Beverly Hills and what they could do within their budget.

This is believed to be the first TCB necklace that Elvis Presley gave out. Does that make it more interesting to collectors? Yes. Collectors love something when it’s original, or the first. TCB went on to be a significant Elvis signature, in a way. Its being the first definitely adds value on auction day.

Why is Sonny West a logical recipient of the first TCB necklace? He was Elvis’s bodyguard, responsible for security at his concerts. He was one of the original members of the Memphis Mafia, which was a very close, tight circle. My guess is because he was Elvis’s bodyguard, he was right there when Elvis went to the jewelry shop in Beverly Hills. Because he was right there, and a member of the Memphis Mafia group, he got the first necklace.

Do the TCB necklaces always look like this one does, or did the design change over time? They’re not all exactly the same. The TCB logo with the flash remains the same, but the chains change.

How many owners did the necklace have after Sonny West relinquished it? He passed it on to the consigner, who brought it to us. Jeffrey, the consigner, created a video which is on our site of Sonny West taking the necklace off himself and putting it on Jeffrey. The provenance is 100 percent solid. That plays into the value.

How many TCB necklaces have you handled, and how many TCB necklaces did Elvis give out? Do we know? I think we’ve handled four to six—probably four, with two coming back to auction again. I don’t know how many there are, but there were somewhere between 12 and 20 people in the Memphis Mafia. Not a huge amount. Maybe 30, max.

Do any period photos exist of Sonny West wearing the TCB necklace and standing alongside Elvis? I presume there would be period photos. He was with Elvis for 16 years, and he was with Elvis a lot. We didn’t license any, but I’m sure there are photos.

How did you arrive at the estimate of $30,000 to $50,000? Obviously we looked at the intrinsic value first. Then we looked at other TCB necklaces we’ve sold. The provenance is so solid because of Sonny West. Then there’s the collectibility of Elvis himself. He has a huge amount of fans out there.

As of October 19, the necklace has its first bid, amounting to $7,500. Does that mean anything? No, it doesn’t mean anything. But we have 55,000 views on this auction already. To have so many so early on, that’s amazing.

What condition is the necklace in? It’s in great condition, given its age and the life it’s had up to now.

Why will this particular TCB necklace stick in your memory? The fact that it was the first one–wow, it was the start of something. The very first one created, for Sonny West, the bodyguard and confidant of Elvis. Within the history of Elvis and the Memphis Mafia, it’s almost like branding, or a tattoo. Taking care of business in a flash was what the Memphis Mafia represented: getting business done. That was what was important to Elvis.

How to bid: The TCB necklace is lot 466 in the Icons and Idols: Rock “N” Roll auction Julien’s will hold in New York on November 9 and 10, 2018.

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.

Julien’s Auctions is on Twitter and Instagram.

Image is courtesy of Julien’s Auctions.

Martin Nolan previously spoke to The Hot Bid about a purple Prince-worn tunic that the star donned for a 1998 BET interview, which yielded a famous GIF; a Joseff of Hollywood simulated diamond necklace worn by Hedy Lamarr, Ava Gardner, and several other Hollywood actresses, as well as a once-lost 1962 Gibson acoustic guitar belonging to John Lennon that sold for $2.4 million–a record for any guitar at auction.

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

RECORD! The Preakness Trophy Given to Alfred Vanderbilt, Jr., Owner of Native Dancer, Sells for $100,000

A sterling silver Preakness Trophy, won in 1953 by Alfred Gwynne Vanderbilt, Jr., owner of the thoroughbred Native Dancer. Doyle sold it in May 2018 for $100,000 against an estimate of $20,000 to $30,000, which is a world auction record for a Preakness Trophy.

What you see: A sterling silver Preakness Trophy, won in 1953 by Alfred Gwynne Vanderbilt, Jr., owner of the thoroughbred Native Dancer. Doyle sold it in May 2018 for $100,000 against an estimate of $20,000 to $30,000, which is a world auction record for a Preakness Trophy.

The expert: Peter Costanzo, senior vice president at Doyle as well as its executive director for books, autographs, and photographs; coins, bank notes, and postage stamps; and estate and appraisal services.

How often do Triple Crown trophies come to auction? Infrequently, and for the Preakness, it’s even less frequently. What you normally see are Kentucky Derby Trophies. They’re highly prized by the families who win them. Kentucky Derby Trophies tend to be valuable. The race has name recognition and the trophy is made out of high-karat gold. The Preakness Trophy is made of silver. A Preakness trophy sold at Christie’s on January 17, 2008, won in 1970 by Personality, which was owned by Ethel D.Jacobs, a very notable horse owner, sort of on a par with Vanderbilt. [He later provided a link to a story that mentioned a third sale of a Preakness Trophy at SCP Auctions in November 2017. Scroll down for the mention.]

How much is this trophy worth simply as a Preakness Trophy, without factoring in the names of Vanderbilt and Native Dancer? Any winner of the Preakness would be a notable horse, bred and raised and trained by notable owners. You’ve got to go back a ways to find a no-name. The Preakness trophy was not available before 1953. The original trophy was the Woodlawn Vase, a pre-Civil War trophy made by Tiffany & Co. for a racecourse in Kentucky called Woodlawn. Not until the late 19th or the early 20th century did Pimlico host the Preakness–the vase was not made for Pimlico. It passed to the next winner until 1953, when Native Dancer won. Vanderbilt decided that the original trophy was too valuable, and should be safely held in the Baltimore Art Museum. 1953 was the first time a replica trophy was issued, and that’s what we sold. It’s notable in that it was the first one you could get. I think that helped its price in the end.

How did the Vanderbilt name affect the value of the 1953 Preakness trophy? Lots of people collect things related to prominent Vanderbilts. The cross-current of competition [with collectors of horse-racing memorabilia] helped drive the price up. This trophy belonged to Alfred Gwynne Vanderbilt, Jr., and was sold [consigned] by Alfred Gwynne Vanderbilt III. Vanderbilt Jr., was very influential in the history of American racing and particularly in Maryland.

And how did the Native Dancer name affect the value of the trophy? Native Dancer is one of a small group of horses that lost the Kentucky Derby but won the Preakness. That’s the only mar on his record. He was a big favorite going into the Kentucky Derby and the Preakness. In 1953, the Preakness was shown on live television and got huge national attention. The country fell in love with Native Dancer.

How did you arrive at the estimate of $20,000 to $30,000? We matched the estimate on the trophy sold at Christie’s in 2008. That sold for $32,200. Ours really took off.

What is the 1953 Preakness trophy like in person? It wasn’t huge, but it was imposing, though. It had a very nice look to it, and it was in good condition. I think it was two-thirds the size of the original Woodlawn Vase. It’s a good, presentable size.

What was your role in the auction? Were you in the room? I acted as a specialist. I wrote the essay about the horse and its owner. The silver specialist cataloged it. And I was there, watching it sell. The whole thing took maybe two minutes. There was a pretty big pool of bidders that dropped down to two once it was over $60,000.

How long do you think the record will stand? I think this Preakness record should stand for a while. Probably none of the owners of horses that won the Preakness have the name recognition of the Vanderbilt family. It would probably have to belong to a horse that won the Triple Crown.

Why will this piece stick in your memory? It’s a major sports collectible, probably the highest-ranking sports collectible I’ve ever sold. It’s a case of a fantastic owner, Vanderbilt, with a fantastic horse, Native Dancer, and the Preakness. It’s hard to get trophies for major horses. That’s why it’s special. The trophy clearly spoke to a lot of people.

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.

Image is courtesy of Doyle.

Doyle is on Twitter and Instagram.

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 Rocky and Bullwinkle Scene Cel, Signed by Bill Scott to June Foray, Fetched $960 at Heritage

 
A Rocky and Bullwinkle scene cel, signed and inscribed by Bill Scott, the voice of Bullwinkle J. Moose, to June Foray, the voice of Rocket J. "Rocky" Squirrel.

Update: The Rocky and Bullwinkle scene cel, signed from the voice of Bullwinkle to the voice of Rocky, sold for $960.

What you see: A Rocky and Bullwinkle scene cel, signed and inscribed by Bill Scott, the voice of Bullwinkle J. Moose, to June Foray, the voice of Rocket J. “Rocky” Squirrel. Heritage Auctions estimates it at $1,500 to $3,500.

Who were Rocky and Bullwinkle? If these names are new to you, you have a treat in store. Introduced by Jay Ward, the two starred in one of the most exquisitely hilarious animated shows ever to grace a television screen. Rocky is a charming and peppy flying squirrel, and Bullwinkle is a charming but slow-witted moose. Together they dodge Boris and Natasha, Russian spies who try to catch and “keel” them. Other popular segments on the show feature the Canadian Mountie Dudley Do-Right and his nemesis, Snidely Whiplash; the time-traveling Sherman and Mr. Peabody; and Fractured Fairy Tales, which are exactly what you think they are. The show originally aired from 1959 to 1964.

The expert: Jim Lentz, director of animation art for Heritage Auctions.

What’s a scene cel? It’s a limited edition animation cel, not used in production.

How did this Rocky and Bullwinkle cel come to be? It post-dates The Rocky and Bullwinkle Show. It never went on camera. Foray started ASIFA, a union for animators. They had cel sales in parking lots and malls to raise money for the union. This is one of the cels made for an ASIFA fundraiser, and it was June Foray’s personal cel. It’s inscribed by Bill Scott to her. That changes everything–it’s as close to Rocky and Bullwinkle as you’re going to get.

This Rocky and Bullwinkle cel was made after The Rocky and Bullwinkle Show stopped production. Would it still have value if it didn’t have a Bill Scott signature and inscription and a June Foray provenance? Any Jay Ward art is valuable because there’s so little out there. It’s maybe $500 without the signature. This is worth $1,500 to $3,500, in that range. There are very few with signatures, maybe a handful. Bill Scott is not a signature you see a lot out there.

Does the Rocky and Bullwinkle cel belong to the first offering of items from June Foray’s estate at auction? Yes. I knew June very well. She was one of the most giving and intelligent and smart women I’ve met in my life. She was the one who led the charge to get animation [included] in the Academy Awards. She was a tireless crusader for animation in general, and she was the single most important woman in animation. She was the voice of Rocky over fifty years. She was Natasha. She was Ursula in George of the Jungle. She was Granny in the Tweety Bird cartoons. She was Cindy Lou Who in How the Grinch Stole Christmas. Chuck Jones once said, “June Foray is not the male Mel Blanc. Mel Blanc is the male June Foray.”

Why does The Rocky and Bullwinkle Show endure? Why do we still love it? It takes three things to make a great cartoon: animation style, acting, and writing. The Rocky and Bullwinkle Show might have been one of the best-acted and best-written cartoon shows. When you can make a child laugh and an adult laugh at the same time, for different reasons, that’s phenomenal.

How to bid: The Bill Scott-signed, June Foray-owned Rocky and Bullwinkle scene cel is Lot 96003 in the Animation Art Signature Auction at Heritage Auctions on June 16 and 17, 2018.

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.

Heritage Auctions is on Twitter and Instagram.

Jim Lentz has appeared on The Hot Bid twice before, talking about a vintage Kem Weber-designed Walt Disney Studios animation desk that sold for $13,145 and a Walt Disney-signed original animation cel from Song of the South that fetched just under $9,000.

ASIFA-Hollywood’s website devotes a section to June Foray, who died in 2017 at the age of 99.

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.

SOLD! Batman’s 1939 Comic Book Debut Sold for Almost $570,000

A May 1939 copy of Detective Comics #27, which featured the debut of Batman. It has a Certified Guaranty Company (CGC) universal grade of 5.0.

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Hake’s Americana & Collectibles is on Twitter and Instagram, too.

Image is courtesy of Hake’s.

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