SOLD! Huggins & Scott Sold a 1903 World Series Program for (Scroll Down to See)

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Update: The 1903 World Series program sold for $228,780.

 

What you see: The front and back cover of a 12-page 1903 World Series program, printed for and sold during the championship games held in Pittsburgh. Huggins and Scott estimates it at $150,000 to $250,000.

 

The expert: Bill Huggins of Huggins and Scott.

 

Why do so few of these inaugural World Series programs survive? They were actually sold only at Pittsburgh games. Boston won the series, five games to three. [It was a best of nine.] I think only four of those games were played in Pittsburgh. Twenty to 30 copies of the Boston version of the program have surfaced over the years. Only three have surfaced for the Pittsburgh games. One is in Cooperstown, and one is in a private collection. This one here was purchased by the consigner in the 1970s and has been in a safe deposit box ever since.

 

Why should there be fewer surviving Pittsburgh programs than Boston programs? Was the Pittsburgh park smaller, or the program less interesting than the Boston one? Being that it was the first World Series, I’m not sure they were expecting a huge turnout. They didn’t know if if would even catch on.

 

To stay on that point about the Pittsburgh program maybe being less interesting–the cover does not show any players… It’s mostly ads. As you open it up, there are lots and lots of ads, 90 percent advertising.

 

Maybe that explains why so few of these programs survive? People didn’t buy the Pittsburgh program because it was so full of ads? Possibly. In and among a page of ads is a picture of [Pittsburgh Pirate] Honus Wagner, who was the star of the series. [The images of the players] are only silhouettes, two by two inch black and white head shots, in a bunch of ads. They had the player’s last name underneath. The players are in business suits with ties. They’re not even in uniform.

 

What condition is the program in? I see pieces of tape on the cover… It must have been coming apart a little, because it has three pieces of tape on it. I don’t know if that was done in 1903, but it was done a very, very long time ago. And it’s got some wear on the corners, and things like that. When I get an old publication, I pick it up and smell it. It smells like old paper. That’s a telltale sign it’s not a reproduction. The pages are very. very thin compared to today’s programs. But there are no pages missing, no tears, no rips, no excessive writing.

 

Have you personally seen the other two known copies? I have not, but I can only imagine, barring the tape, I couldn’t find one nicer than this.

 

Do we know who the program’s first owner was–the person who made the notations on the cover and the scorecard inside? And do we know any of its subsequent owners, aside from the consigner? We don’t. However, the style of the scoring is very much of the period. Today, scorecards are much more elaborate.

 

And those handmade notations–that’s how we know it’s a World Series program from Game 7, yes? Yes. The World Series is the only time the American League met the National League in 1903. They didn’t play each other during the year.

 

The printers used three colors on this program: blue, red, and black. Does that mean the people who commissioned the program splashed out on it? Actually, this is a bit more primitive. Some scorecards produced in the late 1800s were more elaborate. They might have four or five or more colors on some of them.

 

The words “World Series” don’t appear anywhere on the front or back cover of this program. Do they appear anywhere inside it? No. Actually, it looks very similar to programs that the Pittsburgh ball club put out for regular games, if not identical. The defining part is the center page scorecard. I’d imagine the center page is a thing that could be a separate insert on its own, changed on a day to day basis. [FWIW, the cover of the counterpart Boston program doesn’t say “World Series”, but it does say “World’s Championship Games.” To learn more about how the contest got its modern name, follow this link and scroll down to the section called The Origin of the Name ‘the World Series’,]

 

What else marks this as ephemera from 1903? Are there ads in the program that would never appear in a World Series program today? There are whiskey ads, and one for cigars, three for five cents. Another says ‘Drink Crystal Water and live for 200 years.’

 

The Federal Trade Commission would not be cool with an ad like that today. No. There’s an ad for OK beer. Another cigar ad–almost everybody smoked. There’s literally page after page of advertising.

 

Why will this piece stick in your memory? Knowing what it is and knowing the significance of it, it’s very cool. In our industry, rookie cards are very, very hot. This is sort of the rookie card of World Series programs. The rarity of it is key, the firstness of it is key, and only three have surfaced. But there could be some in attics, basements, or drawers that haven’t come out.

 

How to bid: The 1903 World Series program from Pittsburgh is lot 2 in Huggins and Scott‘s November Auction, which runs from November 2 to November 15, 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.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Huggins and Scott.

 

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

 

 

Play Ball! Huggins & Scott Could Sell a 1903 World Series Program for $250,000

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What you see: The front and back cover of a 12-page 1903 World Series program, printed for and sold during the championship games held in Pittsburgh. Huggins and Scott estimates it at $150,000 to $250,000.

 

The expert: Bill Huggins of Huggins and Scott.

 

Why do so few of these inaugural World Series programs survive? They were actually sold only at Pittsburgh games. Boston won the series, five games to three. [It was a best of nine.] I think only four of those games were played in Pittsburgh. Twenty to 30 copies of the Boston version of the program have surfaced over the years. Only three have surfaced for the Pittsburgh games. One is in Cooperstown, and one is in a private collection. This one here was purchased by the consigner in the 1970s and has been in a safe deposit box ever since.

 

Why should there be fewer surviving Pittsburgh programs than Boston programs? Was the Pittsburgh park smaller, or the program less interesting than the Boston one? Being that it was the first World Series, I’m not sure they were expecting a huge turnout. They didn’t know if if would even catch on.

 

To stay on that point about the Pittsburgh program maybe being less interesting–the cover does not show any players… It’s mostly ads. As you open it up, there are lots and lots of ads, 90 percent advertising.

 

Maybe that explains why so few of these programs survive? People didn’t buy the Pittsburgh program because it was so full of ads? Possibly. In and among a page of ads is a picture of [Pittsburgh Pirate] Honus Wagner, who was the star of the series. [The images of the players] are only silhouettes, two by two inch black and white head shots, in a bunch of ads. They had the player’s last name underneath. The players are in business suits with ties. They’re not even in uniform.

 

What condition is the program in? I see pieces of tape on the cover… It must have been coming apart a little, because it has three pieces of tape on it. I don’t know if that was done in 1903, but it was done a very, very long time ago. And it’s got some wear on the corners, and things like that. When I get an old publication, I pick it up and smell it. It smells like old paper. That’s a telltale sign it’s not a reproduction. The pages are very. very thin compared to today’s programs. But there are no pages missing, no tears, no rips, no excessive writing.

 

Have you personally seen the other two known copies? I have not, but I can only imagine, barring the tape, I couldn’t find one nicer than this.

 

Do we know who the program’s first owner was–the person who made the notations on the cover and the scorecard inside? And do we know any of its subsequent owners, aside from the consigner? We don’t. However, the style of the scoring is very much of the period. Today, scorecards are much more elaborate.

 

And those handmade notations–that’s how we know it’s a World Series program from Game 7, yes? Yes. The World Series is the only time the American League met the National League in 1903. They didn’t play each other during the year.

 

The printers used three colors on this program: blue, red, and black. Does that mean the people who commissioned the program splashed out on it? Actually, this is a bit more primitive. Some scorecards produced in the late 1800s were more elaborate. They might have four or five or more colors on some of them.

 

The words “World Series” don’t appear anywhere on the front or back cover of this program. Do they appear anywhere inside it? No. Actually, it looks very similar to programs that the Pittsburgh ball club put out for regular games, if not identical. The defining part is the center page scorecard. I’d imagine the center page is a thing that could be a separate insert on its own, changed on a day to day basis. [FWIW, the cover of the counterpart Boston program doesn’t say “World Series”, but it does say “World’s Championship Games.” To learn more about how the contest got its modern name, follow this link and scroll down to the section called The Origin of the Name ‘the World Series’,]

 

What else marks this as ephemera from 1903? Are there ads in the program that would never appear in a World Series program today? There are whiskey ads, and one for cigars, three for five cents. Another says ‘Drink Crystal Water and live for 200 years.’

 

The Federal Trade Commission would not be cool with an ad like that today. No. There’s an ad for OK beer. Another cigar ad–almost everybody smoked. There’s literally page after page of advertising.

 

Why will this piece stick in your memory? Knowing what it is and knowing the significance of it, it’s very cool. In our industry, rookie cards are very, very hot. This is sort of the rookie card of World Series programs. The rarity of it is key, the firstness of it is key, and only three have surfaced. But there could be some in attics, basements, or drawers that haven’t come out.

 

How to bid: The 1903 World Series program from Pittsburgh is lot 2 in Huggins and Scott‘s November Auction, which runs from November 2 to November 15, 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.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Huggins and Scott.

 

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! Robert Edward Auctions Sold the 1869 Red Stockings Sheet Music for $1,320

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Update: The 1869 Cincinnati Red Stockings sheet music sold for $1,320.

 

What you see: An 1869 copy of The Red Stockings sheet music, lauding a Cincinnati team of that name. Robert Edward Auctions estimates it at $2,000 to $3,000.

 

The expert: Tom D’Alonzo, vintage memorabilia specialist at Robert Edward Auctions.

 

How was sheet music of this sort used in the mid-19th century? Also, is this sheet music for the piano, for voice, or both? It might be a little hard, but try to imagine living in a time with no radio, no records, no televisions. If you wanted to hear music, you had to go to a concert or play an instrument. A lot of homes had a piano, so sheet music like this was sold to be played for entertainment. This sheet music is for exactly that – a piano – with no lyrics included.

 

How many songs are in it? Would we recognize any of the songs today, or are all of them unknown to modern audiences? Only one song appears in this sheet music, and I would think it’s safe to say that it wouldn’t be recognized today if the tune came on the radio.

 

How was music of this sort important to baseball and baseball fandom? Did clubs that were similar to the Royal Rooters in Boston exist in 1869? Would they have used sheet music such as this? I don’t know how important it was to the fan base, but other prominent teams and players had songs dedicated to them – it was considered a great honor. I’d imagine that some of these songs were popular in their day, but it’s hard to say for sure – we have no way of seeing how many pieces of sheet music were sold. The Red Stockings had a strong local following, of course, but nothing to the extent of the Royal Rooters.

 

Why are the 1869 Cincinnati Red Stockings ‘one of the most celebrated teams in baseball history’, according to the lot notes? What is the demand like for that club’s material today, and how does it remain strong? This team is generally considered to be the first professional team. That, coupled with the fact that they won all their games in 1869 against some of the best teams in the country, has made them pretty famous today. That contributes to a strong demand for items related to the team, but there aren’t a ton of items to go around. We’ve seen some, including CDVs [cartes de visite] and sheet music like this, and they’re always in demand.

 

Are the Cincinnati Red Stockings an antecedent to the Cincinnati Reds? Does the club have any connection to the Boston Red Sox? You’d think they would, but they don’t. Four players from the 1869 Cincinnati team joined up with the Boston Red Stockings in 1871 as part of the National Association, which was baseball’s first professional league, after the Cincinnati club disbanded. That Boston team is actually today’s Atlanta Braves – stick with me here – and the Boston Red Sox didn’t come along until 1901. The Cincinnati Reds that we know today weren’t a thing until 1882.

 

Is this cover design unusually elaborate? What can we infer from the fact that the publisher thought they could pay to show all nine players in this level of detail on the cover and make a profit? This cover was obviously designed to catch the eye, and that’s true of most early baseball sheet music. They’re phenomenal display pieces and very attractive. The players on the 1869 team were all well known, so it’s likely the manufacturer saw them as great selling points and included them all.

 

How does this copy compare to the other four that you’ve handled? Without being able to hold them side by side, I’d estimate that this example is middle of the pack – not the best, but not the worst. It’s really a solid example.

 

How did it manage to survive so well? Much of the early sheet music was bound together in an album, and that’s true of this example. Having it preserved tightly and free of exposure to the elements contributed to its survival.

 

The lot notes mention the sheet music’s ‘extremely fragile nature’–what makes it fragile? Was it printed on lower-quality paper? And does it require any sort of special handling, such as gloves? It’s printed on thin paper – not low quality by any means, but thin and susceptible to tearing or damage. Gloves aren’t needed to handle it, but common cautions should be taken to ensure it lives another 100+ years.

 

How did this item come to you? How many owners has it had? Have you sold it before? This piece has a typical story – it was collected by a sheet music collector who enjoyed it for many years before deciding it was time to sell his collection. I don’t know where he acquired it or how many owners it had, but it’s the first time we’ve ever offered it.

 

What is the world auction record for this particular piece of sheet music? The highest price we’re aware of at public auction is $4,025 in 1999.

 

Why will this item stick in your memory? It’s just a classic piece from the early days of baseball. When we think sheet music, it’s hard not to have the 1869 Red Stockings sheet music come to mind.

 

How to bid: The 1869 Red Stockings sheet music is lot 2054 in the REA Fall Auction, which opened online on October 8, 2018 and closes on October 28, 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.

 

Robert Edward Auctions is on Twitter and Instagram.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Robert Edward 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.

Robert Edward Auctions Could Sell an 1869 Copy of Sheet Music Celebrating the Cincinnati Red Stockings for $3,000 or More

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What you see: An 1869 copy of The Red Stockings sheet music, lauding a Cincinnati team of that name. Robert Edward Auctions estimates it at $2,000 to $3,000.

 

The expert: Tom D’Alonzo, vintage memorabilia specialist at Robert Edward Auctions.

 

How was sheet music of this sort used in the mid-19th century? Also, is this sheet music for the piano, for voice, or both? It might be a little hard, but try to imagine living in a time with no radio, no records, no televisions. If you wanted to hear music, you had to go to a concert or play an instrument. A lot of homes had a piano, so sheet music like this was sold to be played for entertainment. This sheet music is for exactly that – a piano – with no lyrics included.

 

How many songs are in it? Would we recognize any of the songs today, or are all of them unknown to modern audiences? Only one song appears in this sheet music, and I would think it’s safe to say that it wouldn’t be recognized today if the tune came on the radio.

 

How was music of this sort important to baseball and baseball fandom? Did clubs that were similar to the Royal Rooters in Boston exist in 1869? Would they have used sheet music such as this? I don’t know how important it was to the fan base, but other prominent teams and players had songs dedicated to them – it was considered a great honor. I’d imagine that some of these songs were popular in their day, but it’s hard to say for sure – we have no way of seeing how many pieces of sheet music were sold. The Red Stockings had a strong local following, of course, but nothing to the extent of the Royal Rooters.

 

Why are the 1869 Cincinnati Red Stockings ‘one of the most celebrated teams in baseball history’, according to the lot notes? What is the demand like for that club’s material today, and how does it remain strong? This team is generally considered to be the first professional team. That, coupled with the fact that they won all their games in 1869 against some of the best teams in the country, has made them pretty famous today. That contributes to a strong demand for items related to the team, but there aren’t a ton of items to go around. We’ve seen some, including CDVs [cartes de visite] and sheet music like this, and they’re always in demand.

 

Are the Cincinnati Red Stockings an antecedent to the Cincinnati Reds? Does the club have any connection to the Boston Red Sox? You’d think they would, but they don’t. Four players from the 1869 Cincinnati team joined up with the Boston Red Stockings in 1871 as part of the National Association, which was baseball’s first professional league, after the Cincinnati club disbanded. That Boston team is actually today’s Atlanta Braves – stick with me here – and the Boston Red Sox didn’t come along until 1901. The Cincinnati Reds that we know today weren’t a thing until 1882.

 

Is this cover design unusually elaborate? What can we infer from the fact that the publisher thought they could pay to show all nine players in this level of detail on the cover and make a profit? This cover was obviously designed to catch the eye, and that’s true of most early baseball sheet music. They’re phenomenal display pieces and very attractive. The players on the 1869 team were all well known, so it’s likely the manufacturer saw them as great selling points and included them all.

 

How does this copy compare to the other four that you’ve handled? Without being able to hold them side by side, I’d estimate that this example is middle of the pack – not the best, but not the worst. It’s really a solid example.

 

How did it manage to survive so well? Much of the early sheet music was bound together in an album, and that’s true of this example. Having it preserved tightly and free of exposure to the elements contributed to its survival.

 

The lot notes mention the sheet music’s ‘extremely fragile nature’–what makes it fragile? Was it printed on lower-quality paper? And does it require any sort of special handling, such as gloves? It’s printed on thin paper – not low quality by any means, but thin and susceptible to tearing or damage. Gloves aren’t needed to handle it, but common cautions should be taken to ensure it lives another 100+ years.

 

How did this item come to you? How many owners has it had? Have you sold it before? This piece has a typical story – it was collected by a sheet music collector who enjoyed it for many years before deciding it was time to sell his collection. I don’t know where he acquired it or how many owners it had, but it’s the first time we’ve ever offered it.

 

What is the world auction record for this particular piece of sheet music? The highest price we’re aware of at public auction is $4,025 in 1999.

 

Why will this item stick in your memory? It’s just a classic piece from the early days of baseball. When we think sheet music, it’s hard not to have the 1869 Red Stockings sheet music come to mind.

 

How to bid: The 1869 Red Stockings sheet music is lot 2054 in the REA Fall Auction, which opened online on October 8, 2018 and closes on October 28, 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.

 

Robert Edward Auctions is on Twitter and Instagram.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Robert Edward Auctions.

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

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

 

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

 

Quack!

 

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SOLD! Hunt Auctions Sold the Circa 1968 Mickey Mantle Game-worn Yankees Cap for $58,750

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Update: The circa 1968 Mickey Mantle game-worn Yankees cap sold for $58,750.

 

What you see: A game-worn Mickey Mantle Yankees baseball cap, circa 1968, size 7 3/4, inscribed by Mantle to his teammate, Tom Tresh. It also comes with a letter of provenance from Tresh, who died in 2008. Hunt Auctions estimates the cap at $50,000 to $100,000.

 

The expert: Dave Hunt of Hunt Auctions.

 

How rare is it to see any authentic game-worn garments from Mickey Mantle at auction, hats or otherwise? Game-used, game-worn, there’s different terminology used in our industry. Jerseys and uniforms come first, and that’s understandable, because [prior to the 1970s or so] there were a few sets issued per year [players got a home uniform and a road uniform each season], and few are in private hands. Then there’s hats and bats and the like. Hats are rare specifically because [provenance] is so hard. If you take a magic marker and write ‘7’ inside the hat, it could be attributed to Mantle. Here, the provenance is buttoned up. It’s so special. I’ve had two or three Mantle hats of any type over the last 26 years, and this is clearly the best one I’ve offered.

 

What makes this Mantle cap the best one you’ve offered? In today’s [Major League Baseball] world, everything is formally witnessed. It’s just different from the 1960s. You’ve got to get as close to the primary source as you can. To the degree that you can, this cap has every attribute that can be corroborated. You have “Mick 7” written underneath the bill with the inscription, “To Tom My Best Wishes, Your Friend Mickey Mantle.” You have a letter of provenance from Tom Tresh, his teammate.

 

Is it rare to have an inscribed game-worn hat from any well-known baseball player? I would say it’s unusual. You do see them.

 

How hard is it to document a period game-worn baseball cap? Fewer hats are documentable to the degree that meets [accepted third-party graders’] guidelines. We’ve had plenty of hats that could well be significant, but don’t have the documentation to prove it. We have one in the auction, a game-worn Brooklyn Dodgers hat with insertion plates [which were needed] because teams were beaning Jackie Robinson. A Brooklyn Dodgers employee gave it to his neighbor–we locked that up [that aspect of the provenance]. But there’s no 42 in it, and the size is off from Jackie Robinson’s hat size. [The lot notes state that the cap is 6 3/4, while Robinson’s documented hat size is 7.] It’s a beautiful hat, a rare hat with insertion plates. It may sell for $3,000 to $4,000, but if it had a 42 in it, it could be a quarter million plus. We clearly point out the inconsistencies that say that its not [not necessarily worn by Robinson]. That’s how to represent it.

 

How generous was Mantle with his game-worn hats? Did he give them away often? I don’t know. You do see, with a player of Mantle’s caliber, Hank Aaron, Willie Mays–they were the most popular people in the world. People sought them out and had access to the players and the field that we don’t have today. You could wait by their cars. Hats weren’t worth a lot then. It was a different world.

 

And Mantle gave this hat to Tresh because they were teammates? As far as we can tell. They clearly were teammates, they played during the same era, and they had a lot of chances to interact. What’s nice is there’s a personal letter from Tom [explaining how and when Mantle gave him the hat].

 

How do you know the hat dates to circa 1968? Yankee hats still are so stylistically similar to what they wear [now] that you go by tagging [period tags sewn inside the hat]. We had the advantage here of Tresh himself noting in the letter of provenance when he recalled getting it. The 1968 date is consistent with the tagging, model, and style. With the Tresh attribution, we feel comfortable in saying it’s circa 1968.

 

Game-worn clothes present a weird situation to collectors: you want them to show some wear, but not too much. What condition is the Mantle cap in? It’s very fine. It’s excellent. It’s not abused in any way, shape, or form. It does have cracking to the bill, which is normal. It has perspiration wear, but not abusively so. The top of the hat is navy blue in color, but muted. Why? Because of the sun. It’s a nice mix of honest use and the wear you want to see, but not with the condition issues that might hold the value down.

 

How did you arrive at the estimate of $50,000 to $100,000? It was actually a bit difficult. Mantle game-worn jerseys bring from a quarter of a million to $750,000. There are so few hats at this level that this hat–it’s tough. You could argue it’s $20,000 to $30,000. You could argue it’s $100,000 to $150,000. If it was a jersey, it would be one of the better jerseys.

 

Have you tried on the hat? No. Nope. (Laughs.) People have asked me that before with jerseys and hats, and I can honestly say in 26 years I don’t think I ever wore one. Not once.

 

How have you avoided the temptation? I don’t know. There’s nothing wrong with wearing them, but I don’t know. Maybe it’s baseball superstition. Maybe it’s reverence. Maybe it’s coincidence. But I don’t know.

 

As of July 6, 2018, bids on the Mantle cap have passed $15,000, with the close of the auction more than a week away. Does that mean anything? It really doesn’t. You can go through the auction and see things that are three times higher than the estimate already. It could sell for past that, or not any further. I wouldn’t say it’s completely irrelevant. It can be. But it’s by no means indicative of how it will end up.

 

Why will this Mantle cap stick in your memory? I’m a fan of the pieces of professional model equipment that have incredible provenance. When you have something so well-sourced, it not only does better at auction, you can go to the client and stand behind it and say this is the one to go for. On this piece, it’s the combination–it’s not just the “Mick 7,” or the inscription, or the size and the style being consistent with other Mantle hats, or the letter–it’s all of those things. It has all those boxes checked to make it one of the better pieces.

 

How to bid: The inscribed Mickey Mantle game-worn Yankees cap is lot 895 in Hunt Auctions‘s 2018 Live Auction at the MLB All-Star FanFest on July 16 and 17, 2018.

 

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

 

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RECORD: Jesse Owens’s 1936 Olympic Gold Medal Sells for $1.46 Million at SCP Auctions

Owens Medal front

Editor’s note: With the arrival of the holidays, The Hot Bid shifts its focus to world auction records. 

What you see: A 1936 Olympic gold medal, one of four earned by Jesse Owens during the Berlin games. SCP Auctions sold it in 2013 for $1.46 million, a world auction record for any piece of Olympic memorabilia.

Who was Jesse Owens? He was an African-American athlete who put the lie to Adolf Hitler’s racist Nazi policies when he won four gold medals at the 1936 Olympic Games in Berlin in track and field events: the 100 meters, the 200 meters, the long jump, and the 4 x 100 relay. Sadly, his glory was cut short by American sports officials, who took away his amateur status and killed his career after he accepted endorsement deals. He struggled thereafter, resorting more than once to running against racehorses (and beating them). He died of lung cancer in 1980 at the age of 66.

How did you come up with an estimate for Jesse Owens’s Olympic gold medal? “Estimates are always educated guesses,” says Dan Imler, vice president of SCP Auctions. “Nothing is directly comparable to Jesse Owens’s medal. We had the estimate at half a million and up, and we far exceeded our estimate.”

Do we know when Owens gave the medal to his friend, Bill “Bojangles” Robinson? “We can’t pinpoint the moment when Owens gave it to him, but their relationship is well-documented,” he says.

What was your role in the auction? “The bidding was all done online,” he says, noting that he dealt with prospective bidders and promoted the lot. “To be honest with you, when we’re in the final stage of bidding, most of our work is done. There’s a tremendous amount of research and marketing leading up to that point.”

When did the online bidding enter crunch time? “On the final day, at 5 pm PST, we went into extended bidding. The hours between 5 pm and 8 pm PST are when people make their moves and really competitive bidding, bidding wars, occur,” he says. “We entered extended bidding on the Owens medal at $447,000. It rose to $1.4 million over a period of three hours. I can’t say exactly how many people were bidding, for privacy reasons, but there were definitely more than two.”

When did you know you had a world auction record? “We weren’t really focused on setting a record,” he says. “We were more focused on getting a result that was worthy of the item. We were very pleased to see it pass the seven-figure mark, but we were not surprised.”

What do you remember most about that auction? “The exciting part for us was having the validation of people recognizing the historic significance and value of the item. It was nice to see it go for a figure commensurate with its importance,” he says. “We’ve sold items for more than this sold for, but I’m not sure we’ve sold anything more important from a cultural standpoint. It goes so far beyond the realm of sports memorabilia. Given what it represents, it’s very difficult to put a price on it. In my opinion, it’s worth more today than it was in 2013. If it sold again today, it would bring a higher price.”

Why do you think the Jesse Owens Olympic gold medal would sell for more than $1.4 million if it was consigned again today? “There are several factors,” he says. “The high-end collectible sports memorabilia market has advanced significantly in the last four years. Also, in that time, a major motion picture about Jesse Owens, Race, further raised his profile and raised awareness of what he accomplished. The National Museum of African American History and Culture at the Smithsonian recently opened an African-American sports exhibit. It wasn’t in place at the time the medal sold, but I can’t imagine a greater centerpiece for it. I think the medal’s magnitude has grown for all those reasons.”

Owens won three other gold medals at the 1936 Olympics, but they appear to be missing. If any of them turned up, along with ironclad documentation that proves they belonged to Owens, how might they do at auction? “If another two or three could be verified, none would be worth less than what we sold ours for, and they could sell for substantially more,” he says.

What was it like to hold Jesse Owens’s Olympic gold medal? “We’re in the business of handling historic artifacts on a daily basis. You can get numb to it. We really felt we were in a privileged position to be handling this,” Imler says. “After 20 years in the business, you don’t get goose bumps that often. This raises goose bumps. It’s very special.”

Why will the Jesse Owens Olympic gold medal stick in your memory? “It’s the ultimate symbol of triumph, and not just in the athletic realm,” he says. “It’s symbolic of civil rights, athletic greatness, courage, fortitude–it’s so far beyond sports, so far beyond anything we’ve handled in our company history. It will stand the test of time and provide inspiration for many generations to come.”

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SCP Auctions will offer the Jesse Owens Estate Collection in its 2018 Spring Auction, which takes place between March 7 and March 24, 2018. Lots will include the Presidential Medal of Freedom given to Owens by President Gerald Ford in 1976 (estimated at $250,000-plus); the Congressional Gold Medal posthumously awarded to Owens by President George H.W. Bush in 1990 (estimated at $150,000-plus); and two of the four First Place Olympic Winner Diplomas he received for his performances in the Long Jump and the 200 Meter race at the 1936 Berlin games (estimate pending).

Jesse Owens has an official web site.

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

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