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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Heritage Auctions is on Twitter and Instagram.

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Heritage Auctions is on Twitter and Instagram.

 

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

 

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

 

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

 

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

Potter & Potter Could Sell a Snap Wyatt Sideshow Banner of a Headless Girl for $2,000

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What you see: A sideshow banner made by Snap Wyatt circa 1965, advertising a headless girl illusion. Potter & Potter estimates it at $1,500 to $2,000.

 

The expert: Gabe Fajuri, president of Potter & Potter.

 

How rarely do sideshow banners painted by Snap Wyatt come to auction? I don’t know that it’s unusual. They’re out there. Remember, Wyatt said he could paint one banner per day.

 

Where does Snap Wyatt rank among the known sideshow banner painters? And is this the largest group of Snap Wyatt banners you’ve offered at the same time? He ranks in the top three, top five. And yes, it is the largest group. Usually we get them one or two at a time, if at all.

 

How does this Snap Wyatt banner compare to the other Snap Wyatt banners in the auction? It’s in better condition than some of the others. But it’s so hard to say–tastes vary widely. One banner in there shows a magician, and someone will want that who’s interested in magic. Some might be interested in the Headless Girl because they like a woman in a bikini.

 

Snap Wyatt signed this banner. Is that unusual? No, he usually put his stencil signature on them. There are many unsigned examples [of sideshow banners] but I think people like examples by known painters–Sigler, Johnson, Wyatt.

 

How do you know Wyatt painted this banner around 1965? It’s an educated guess based on its style and condition. It’s not an earlier banner because it’d be a lot rougher as far as condition. Johnny Meah gave me insight into when and how Wyatt worked.

 

Do sideshow banner collectors avoid banners that don’t show enough signs of having been on the road? I think something collectors look for are show-used banners–ones you can prove were used in a particular show at a particular time. That is to the good. I don’t know that that’s the case here.

 

Would people who paid to enter the sideshow in 1965 because this banner caught their eye have seen a headless girl illusion that looks like this? [Laughs] No. They would not have seen it in this way, no. It was the equivalent of a line illustration in the Johnson Smith catalog. The difference between imagination and reality is pretty stark.

 

How far off would it be from what we see on the banner? It’d be different in that she wouldn’t be sitting sideways, she wouldn’t be in a bikini, and a thing would be attached to her head in place of her head, like the apparatus we’re selling in lot 646. This is very casual-looking, as if she’ll get up and walk around. In a ten-in-one [a sideshow that offered ten acts in one venue for one price], she’d sit in a chair, and there’d be someone next to her, the demonstrator of the attraction, fiddling with knobs on a blinking control board or pouring fluid into tubes leading to her neck, explaining how she survives. He might hand her things to prove she’s alive and not a robot. Since she’s not getting up out of the chair and can’t talk, she’s going to need some help.

 

Is the headless girl illusion a standard sideshow attraction? I would say it’s a classic,  a fairly common thing. It was exhibited at Coney Island for years.

 

Did the headless girl just sit there, or did she do things? She could have done any number of things. She definitely moved around to prove she was not a wax figure or a mannequin. She could have written on a blackboard, anything to prove she was alive.

 

How similar would the circa 1965 headless girl apparatus have been to the one you’re offering in lot 646? The method is basically unchanged. The way it works now is identical to the way it worked then. There would have been tubes or a metal apparatus coming out of her neck. Perhaps they dressed it up in different ways, with different headpieces, or different sets of tubes and a lot of things on the side to “keep her alive.”

 

So you can guess where the headless girl’s head is pretty easily. It depends on how careful the exhibitor is. The illusion can be quite good. It’s up to them to set it up correctly. A lot of show operators didn’t care in the sense that they’d gotten your money. You can still buy the workshop plans from Abbott Magic in Michigan, if you want, and build your own. I think the plans are $5. [He remembered correctly. The plans are $5 as of October 2018.]

 

And the illusion doesn’t look like the banner. They all have something sticking out of her head. It’s not simply a headless woman.

 

How much would the banner be worth if the artist was anonymous? The banner market is not what it used to be, but I don’t think it would change it tremendously. If it’s anonymous, it’s a 20 to 30 percent difference.

 

What does the Johnny Fox provenance add to the banner’s value? I think it adds a little bit to it. A lot of people are interested in Johnny Fox. If you look on Facebook, there are memorials to him. He had a lot of friends. He performed for 37 seasons at the Maryland Renaissance Festival. They named a stage after him in tribute to him. A lot of people fondly remember Fox and his museum.

 

What are the odds that the same bidder buys the Headless Girl banner and the headless woman apparatus? About 50/50. I think there’s a good chance someone will buy the prop and use it. I think a collector will buy the banner.

 

How to bid: The Headless Girl sideshow banner is lot 8 in Freakatorium: The Collection of Johnny Fox, a sale that takes place November 10, 2018 at Potter & Potter.

 

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.

 

Follow Potter & Potter on Instagram and Twitter.

 

Gabe Fajuri is a favorite on The Hot Bid. He’s talked about a record-setting stage-worn magician’s tuxedo; a genuine 19th century gambler’s case that later sold for $6,765; a scarce 19th century poster of a tattooed man that fetched $8,610; a 1908 poster for the magician Chung Ling Soo that sold for $9,225; a Golden Girls letterman jacket that belonged to actress Rue McClanahan; and a 1912 Houdini poster that set the world record for any magic poster at auction.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Potter & Potter.

 

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! Wright Sold A High-end 1935 Walter Dorwin Teague Radio (Yes, That’s a Radio) in 2015 for $149,000

Teague Radio

What you see: A Nocturne radio, model 1186, designed by Walter Dorwin Teague for the Sparton Corporation in 1935. Wright sold it in November 2015 for $149,000 against an estimate of $70,000 to $90,000–a record for any work by Teague.

 

The expert: Richard Wright, president of Wright auction house.

 

Sparton unveiled the Nocturne in 1935, during the Great Depression. It was priced at $350 to $375, which means it almost cost as much as a car. Who would have been the market for this high-end radio? It was always a Cadillac premium item, not intended for the masses. They didn’t sell a lot of them, but it was marketed to high-end posh interiors–hotels and similar venues. They did it as futuristic branding of the company as opposed to selling a lot of these.

 

I look at the Nocturne and to me, sitting here in the 21st century, it still seems futuristic. Do we know how the public reacted to the radio at the time? People looked at it and felt optimistic about the future. The fact that it came out at the depths of the Great Depression spoke to the idea that there was real hope and promise in technology. Things are different today, but the promise is out there that technology can make the world better. We still do that. Computers and technology products tend to be futuristic in design.

 

This represents an auction record for a work by Walter Dorwin Teague, but is it also an auction record for any radio? It seems to be, but I can’t verify that. There are auction databases, but you can’t just search on radios. Enigma machines have a radio component, but that’s a different category. For a straightforward radio, I do think it’s a record.

 

Could you explain what the yellow dial at the top does? I think it’s the frequency tuner. This radio works but we were very reluctant to plug it in. I didn’t play around with all the things it could do.

 

And the black box at the bottom is the speaker? Yes.

 

And the ladder structure and the blue glass–is it decorative or functional? Does the glass help amplify the sound? It’s purely aesthetic. There’s no functional aspect to that.

 

About two dozen Nocturnes survive, and they pop up at auction every now and again. How does this one compare to the other examples? This was a particularly good one. It had been incredibly restored, and there had been a carefully documented restoration of it. There’s a relatively small number of buyers for these today. The best buyers for us for these have been museums.

 

What is this radio like in person? It’s impressive. I think the reason it’s collected today is it’s a visually iconic symbol of industrial design and American Art Deco. To your point, it still looks very modern today and very pared down and pure in its expression. And it’s big, physically big. It was meant to be a real show-stopper. There was a tabletop version. I think it was called a Bluebird. There are many more of those, but it doesn’t at all have the presence of the Nocturne. This is bigger, and you can see yourself in it. It’s a pretty interesting experience to stand in front of it.

 

What does it sound like? I did hear it on. I didn’t play with it, didn’t tune it to different bands. It’s hard to gauge the sound quality. We’re pretty spoiled now [as far as expectations of sound quality]. It has a pretty big sound, but a mono speaker.

 

What drove the price of this Nocturne so high? There were five active bidders, which is significant at that level. I think it was a fantastic example, historically documented, we did a good job telling its story, and it had the nice element that part of the proceeds went to charity. If you were waiting to buy one, this was the one to buy, and people recognized that.

 

How did you arrive at the estimate of $70,000 to $90,000? It was based on comparables that existed. We’d handled Nocturnes before, and we knew this was a great one. The estimate was fairly aggressive. We did sell one in 2003 to the Dallas Museum of Art for over $100,000 on an estimate of $50,000 to $70,000. The consigner was the widow of the radio enthusiast, but she had a good sense of the market. She also played a part [in the estimate]. She wanted to honor her husband’s legacy and wanted a significant price, for sure.

 

What was your role in the auction? I was the auctioneer. I don’t remember much. Auctioneering is very much a flow activity. You’re very concentrated. You try to respond with energy and try not to make a mistake and then you go to the next lot.

 

When did you know you had a record? Records are nice, but it wasn’t first and foremost in my mind. I didn’t go into it hoping to break a record, but I know the benchmarks. I handled the consignment myself.  It was her husband’s legacy, his favorite radio. I felt proud that I had told the story of the radio, put it online, linked to her husband’s blog, and got a great result. That’s the best of my work. I helped myself, I helped somebody, and I preserved history. I feel super-proud of that. And I want it [the lot listing] to be out there as a resource for people who find it.

 

What else is out there by Walter Dorwin Teague that could challenge this record? Teague designed a wide range of things. Nothing else would touch it in his oeuvre. It’d be another Nocturne. That’s the only thing that would get back up there.

 

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.

 

Wright is on Twitter and Instagram.

 

The Nocturne’s previous owner, the late Roger E. Dillon, created a website about the exquisite radio and how he restored it.

 

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

 

 

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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.

 

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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! A Striking Craniometer, Maybe the Only Surviving Example of Its Type, Commands $12,300 at Skinner–More Than Double Its High Estimate

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Update: The late 19th century lacquered brass craniometer sold for $12,300–more than double its high estimate.

 

What you see: A lacquered brass craniometer, made in the late 19th century by the German company C.F.H. Heineman. Skinner estimates it at $4,000 to $6,000.

 

The expert: Jonathan Dowling, a specialist in the clocks, watches, and scientific instruments department at Skinner.

 

What’s a craniometer, and how was it used? As it looks, it was to measure skulls. In the 18th and 19th centuries, it was once believed that the shape and size of the skull indicated knowledge. The belief was called craniology. It was a pseudoscience along the lines of phrenology. The craniometer tried to measure each little undulation in a skull. That’s why there’s so many of those spikes. They measure a quarter of an inch to three-quarters of an inch.

 

Craniology imputed moral character to the size of the skull? That’s a good way of putting it. A bigger skull was considered a better skull.

 

This tool was made in Germany. Was craniology most popular in Germany? I would not say that. Braunschweig, Germany was a well-known area for producing medical instruments. This might be the only surviving example. Many think there was a very limited run because of the quality.

 

Are the parts of the craniometer labeled in German? No.

 

So we don’t know what qualities the craniometer was supposed to measure? It is a mystery. It all depends on where you chose to put the skull.

 

Why does the craniometer look like this? Why are the pins the length that they are? I think the pins are of this length to accommodate different sizes of skull. And you have to have a skull. You could not put a person in this.

 

Does the skull rotate or spin within the brass rings? The skull itself does not rotate. But the brass column can be turned manually, 360 degrees.

 

How were craniometer measurements taken? Around both spheres, there are numerical engravings. Let’s say you’re using the pin through number 17. You measure, you mark, you pull out the pin, and that gives you a measurement for where the pin falls on the skull for number 17. Number 17 is some sort of moral aspect.

 

Are you auctioning it with or without a skull? The skull is for display. It’s a real skull, a human skull. It is part of the lot.

 

How many pins are there? I think there are 40 pins. Down below the turned column, on the brass plate mounted in the ebony base, there are holes to hold the pins.

 

What are the tips of the pins made from? Bone. Turned bone.

 

Why? That’s not an obvious choice. I think it’s where the quality of the piece surpasses the average piece. The quality of it takes it to a different level.

 

Have you seen other craniometers? How do they measure up to this one? I haven’t seen others in person, but I have seen them in my research. They’re very crude. They’re less intricate, less detail-oriented. With this one, the tolerances are so tight where the pins go through the uprights–that’s a mark of quality. The castings of the rings are very well done also.

 

Can we tell if it was made for someone in private practice, or as a teaching model? We cannot tell. In my research, I was not able to find the purpose for this. I don’t know if it’s for a doctor or a teaching tool.

 

How did the craniometer come to you? This, along with several of the lots in the sale–a few phrenology heads, a medical teaching model–came from a private collector in Massachusetts.

 

Why will this craniometer stick in your memory? The sculptural quality. That’s how I look at it. As a craftsman myself, the quality of the instrument says something to me. I don’t know if I’ll ever handle another piece like this.

 

How to bid: The craniometer is lot 560 in the Clocks, Watches & Scientific Instruments sale at Skinner on April 20, 2018.

 

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You can follow Skinner on Twitter and Instagram.

 

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

 

Jonathan Dowling spoke to The Hot Bid in 2017 about a unique mid-century model airplane that ultimately sold for $11,070 at Skinner.

 

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Wow! Heritage Sold a 1964 Fender Stratocaster Destroyed On Stage by Pete Townshend for $30,000

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Update: The 1964 sonic blue Fender Stratocaster smashed on stage by Pete Townshend sold for $30,000.

 

What you see: A 1964 sonic blue Fender Stratocaster “smasher,”–a guitar played on stage and smashed by Pete Townshend of The Who–on December 1, 1967 at Long Island Arena in Commack, New York. Heritage Auctions estimates it at $15,000 to $20,000.

 

Who is Pete Townshend? He’s the lead guitarist and lead songwriter for the legendary British rock band, The Who, which played its first concert in 1964. Townshend also first smashed a guitar on stage in that year. The band’s hits include My Generation, Baba O’Riley, Won’t Get Fooled Again, Magic Bus, and Pinball Wizard, a song from the 1969 rock opera, Tommy. Townshend will turn 73 in May 2018.

 

How rare are genuine stage-played 1960s-era smashed Pete Townshend guitars? “Very rare,” says Garry Shrum, director of entertainment and music memorabilia for Heritage Auctions. “Usually Pete smashed a guitar until it was in shreds. I know a couple of collectors who own multiple stage-played guitars. I know one guy who bought several smashers to make one whole guitar–he Frankensteined it together. But it’s very rare to find one from the 1960s. People didn’t keep them. If it was in the crowd, it was a dive-fest. People wanted a piece of that guitar.”

 

How many Townshend smashers have you handled? “Two, and I’ve been at Heritage for 14 years,” he says. “Before that, I had a shop for 30 years. People brought in smashers to share with me, but they wouldn’t let me buy them off them.”

 

Has anyone tried to document how many times Townshend smashed a guitar on stage? “There’s got to be something, somewhere. Someone might have tried to document it, but I have not seen it,” he says. “I wish I had the answer, but I don’t. But he smashed guitars hundreds of times.” [After we spoke, I found a heroic stab at a list on thewho.net. Scroll down for the link.]

 

I was going to ask if this smasher was worth less because it isn’t complete, but hearing you speak, I get the impression that it’s unusually complete. “Exactly. You have to get the neck and some pickups to make it complete, but you generally don’t get that chance at all,” he says. “It’s a great piece of music history. Over the years, other people have broken guitars on stage, but it was all spawned by Pete in the ’60s.”

 

Townshend smashed hundreds of guitars on stage? Didn’t that get expensive after a while? “In the early years, he used cheaper guitars, but it got expensive,” he says, noting that Fenders “were imported to the U.K., and the pound versus dollar exchange made it more expensive for him. Probably £400 to £700 for a guitar every time he picked one up.”

 

This smasher doesn’t have a neck, but it does have its neck plate, which contains the guitar’s serial number. Does that help prove that Townshend played it and smashed it on stage? “In most cases, you don’t see the neck plate. You see half of a guitar. Once he started breaking it, the plate went because of the neck,” he says. “Pete would throw the whole thing into the crowd, and people would rip it to pieces. Somebody got the plate, somebody got the pickups, somebody got the headstock, somebody got the strings. The neck plate helps date it. It’s a stronger provenance of the time period. But there’s no way to trace it back [to Townshend]. After two or three years, music stores threw out their paper receipts. There was no reason for them to keep them. Guitar-collecting didn’t get serious until the mid-1970s.”

 

Is it rare for a smasher to have accompanying documents, as this one does? [It comes with a ticket stub from the December 1, 1967 show and a two-page handwritten account of how the original owner caught it.] “That’s rare, and that’s so cool, because we can date it,” he says. “A lot of times it’s a hearsay story. When you have other pieces of paper, a paper trail, it’s more exciting to talk about. You can close your eyes and picture the whole thing happening.”

 

Are Townshend smashers worth more than stage-played guitars that he didn’t smash? “No. An original 1964 Fender Stratocaster is worth money on its own, without a Pete Townshend provenance,” he says. “They sell for $16,000 to $20,000, depending on condition. If Pete played it during that period, it’s easily over $100,000. This is broken. We hope it’s worth $15,000 to $20,000, maybe more. All it takes is two people to push it up.”

 

What’s the auction record for a Townshend smasher? Is it higher than the record for an intact Townshend-played guitar? The auction record for a smasher as well as an intact guitar appears to belong to a lot sold at Bonhams London, Knightsbridge in December 2015. It contained a pair of Rickenbachers–one whole and one destroyed on stage during The Who’s 25th anniversary tour in 1989, along with a signed November 2014 statement from Townshend about them both. The lot sold for £52,500, or $73,934.

 

You set the opening bid for this guitar at $10,000. Why? “The consigner hopes to get at least $10,000,” he says. “We wanted it in the auction because it was such a cool, rare piece. You can’t go on eBay and find it. That’s not gonna happen.”

 

Why will this Townshend smasher stick in your memory? “I have certain bands I admire. I had a shop, and I had the advantage of going backstage to meet people,” he says. “In 1970, I hung out with The Who on the fifth floor of the Hilton San Diego. My wife was 17, and I was 18. It was one of those time periods when I thought, ‘Is this really happening? I’ve spent three hours talking about music with John Entwhistle.’ Keith Moon was doing crazy stuff. Pete and Roger didn’t stick around. They had girls. Anything from The Who that comes in makes me think about the time I spent then. It’s part of my history with music, and with the band itself.”

 

How to bid: The Pete Townshend Fender Stratocaster smasher is lot #89636 in Heritage Auctions‘s Entertainment & Music Memorabilia Signature Auction on April 15, 2018.

 

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

 

By clicking through to the lot, you can also see a photograph of Townsend playing the guitar in classic windmill style on stage, as well as images of the handwritten account of the December 1967 concert.

 

The folks behind thewho.net have assembled a list of guitars that Pete Townshend smashed over the years. The guitar being auctioned at Heritage is included.

 

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