SOLD! This Striking Silver 19th Century Russian Rooster-Form Presentation Cup Fetched $33,800 at Freeman’s

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Update: The Russian silver and champlevé-enamel cockerel-form covered presentation cup sold for $33,800.

What you see: A Russian silver and champlevé-enamel cockerel-form (aka rooster-form) covered presentation cup, made in St. Petersburg in the late 19th century. Freeman’s estimates it at $30,000 to $50,000.

This cup is believed to be a wedding gift. Why would a rooster be an appropriate motif for a couple who are getting married? “The rooster symbolizes a new day, and it symbolizes good news. That’s why it’s an appropriate wedding gift,” says Nicholas B.A. Nicholson, who leads the English and Continental furniture and decorative arts department for Freeman’s, which covers silver. He adds, “It’s a tradition of the family [who owned it] that it was a wedding gift. We stop short of saying it was a wedding gift because we don’t have a letter saying that, but we have no reason to disagree.”

Silversmith Alexander Nikolaevich Sokolov designed the cup, and the lot notes say it is “likely derived” from an illustration in a popular Russian book from the time, Antiquities of the Russian State. Was Sokolov trying to evoke the medieval-style illustration? “He’s making as realistic a cockerel as he can given the design of medieval Russian works,” he says.

What’s up with the rooster’s tail? It’s a good example of what Nicholson means when he talks about Sokolov balancing realism against the medieval sensibility of the book’s illustrations: “The tail devolves from natural feathers, to braided feathers in a strapwork pattern, to strapwork on the tail–an amazing deconstruction.”

Did Sokolov’s workshop do other rooster-shaped presentation cups? “He did others earlier, but they were not as fully evolved as this one,” Nicholson says. “We don’t know how many he made, but it was clearly a form he liked.”

It’s a presentation cup, so you’re not really supposed to drink from it. But if you wanted to, how would you do it? See the broad band around the top of the rooster’s body? The hinge is in there. The head and neck of the silver bird tilts backwards, and the comb rests on its tail.

This is fresh to market, directly from the descendants of the people who received it. How unusual is that? “Many things that have been sold were confiscated by the Russian government,” he says. “This was brought over by the family and preserved through the generations to be offered at auction for the first time.”

What else makes the Russian presentation cup special? “It’s such an extraordinary piece of silver,” he says. “We have lots of good silver in this sale, and they all have their own stories, but this piece… the story makes it exceptional. So many Russian objects are just stolen. It transferred from an old Russian family [that became] a Russian emigre family and [then became] an American family of Russian descent, who wants it to go to a collector who understands its value.”

How to bid: The silver rooster presentation cup is lot 9 in the Silver & Russian Works of Art auction at Freeman’s on October 17, 2017.

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

 

 

 

 

 

 

 

A Mid-1930s Travel Poster Featuring The Hindenburg Could Float Away With $6,000 at Swann

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What you see: A Pleasant Trip to Germany, a travel poster created circa 1935 by Jupp Wiertz. Swann estimates its at $4,000 to $6,000.

Who was Jupp Wiertz? He was a German graphic designer, and unfortunately, we don’t know much more about him. He was based in Berlin, and he created several travel and fashion-themed posters. He died in 1939, when he would have been 57 or 58.

So we have three different forms of transportation (a zeppelin, an airplane, and an ocean liner) and three different destinations (Germany, New York City, and Rio) loaded into one poster. Why? “This is propaganda–Germany controlling the skies and the seas, flaunting its technology and bragging about its place in the modern world,” says Nicholas Lowry, director of Swann Galleries. “It’s a very effective ad, in that sense.”

How do we know that the zeppelin pictured on the poster is the Hindenburg? “You can tell by the position of the cockpit,” he says. “On the Graf Zeppelin, it’s all the way forward. On the Hindenburg, its three-quarters of the way down [the body of the airship].”

Do vintage travel posters that feature zeppelins bring a premium? “Zeppelins bring a premium. Swastikas bring whatever is the opposite of a premium,” Lowry says, adding that the most popular zeppelin travel poster was also done by Wiertz. It shows the Hindenburg readying to hitch itself to the docking mast atop the Empire State Building, which is ablaze with golden sunlight. Swann has sold the poster for as much as $15,600.

What else makes this circa 1935 travel poster special? “It’s the peak of Art Deco. Though the ship is unrecognizable, the Art Deco style is very recognizable,” he says. “Plus the ghostly outline  of the cityscapes–it’s really a masterful job. It’s fun to have something from the golden age of travel and fun to have something from the very short timespan when zeppelins were operating. They were as captivating to the world’s imagination as the Titanic was in its time.”

How to bid: A Pleasant Trip to Germany is lot 151 in the Rare & Important Travel Posters sale at Swann Auction Galleries on October 26, 2017.

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

SOLD! A Jewel-Like Landscape by Irish Artist John Luke Fetches More Than $251,000 at Sotheby’s London

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Update: John Luke’s Northern Rhythm commanded £187,500, or $251,000.

What you see: Northern Rhythm, a 1946 tempera on board by John Luke. It’s from his celebrated Armagh series, painted between 1943 and 1948 at a farm in Northern Ireland that he moved to after World War II bombings that devastated Belfast. Sotheby’s estimates the painting at £100,000 to £150,000 ($129,000 to $194,000).

Who is John Luke? He was a 20th century Irish artist. He wasn’t as prolific as others due to his meticulous approach. He passed up ready-made paint in convenient tubes to grind his own oil and tempera pigments, and he worked slowly, pointing his full concentration at one painting and one painting alone for up to a year at a time. The Armagh series is regarded as among his best group of works, if not the best. He also painted murals for Belfast’s City Hall and other Irish venues. He died in 1975 at the age of 69.

How rare is it for a work from Luke’s Armagh series to come to market, never mind go to auction for the first time, as Northern Rhythm is? “It certainly is an event,” says Charlie Minter, deputy director and specialist in British and Irish art, post 1850, at Sotheby’s. “The last one that sold from the group was in 1997–Landscape with Figures–and that’s among his top ten at auction. They are pretty special occasions.” Minter adds that of the eleven Armagh paintings, five are in private hands, five are in institutions, and the location of the last one is unknown.

Where does Northern Rhythm rank among Luke’s paintings? “It’s certainly regarded as one of his best, if not his best,” Minter says, noting that Luke wrote in a 1949 letter to a friend, “No painting has so much or so deeply expressed my own particular type or state of mind & spirit as Northern Rhythm.”

I’m surprised Luke sold it. “At first, he didn’t let it go,” he says. “He sold it in the sixties, probably because of financial reasons. He did keep it close to him. He was reluctant to part with it.”

Three of Luke’s top ten most-expensive works at auction come from the Armagh series: Landscape with Figures, Pax, and The Dancer and the Bubble. Do you think that Northern Rhythm will set a new auction record for the artist? “As much as I’d love to say it will, no,” Minter says. “The auction record [The Bridge, a 1936 tempera on board, sold in 1999 for £441,500, or $711,752] is so high, it’s really hard to beat. There’s a chance it will get to the second most-expensive level [held by Landscape with Figures, a 1948 tempera on board that sold in 1997 for £194,000, or $319,446]. It’s really a fantastic work. I’d be delighted if it got the second-highest price. The top is out of the stratosphere, unfortunately. A group of focused collectors [of Irish art] bid the high prices, and we won’t see the same participation at this auction.”

What makes Northern Rhythm special? “It has a jewel-like quality. It’s immediately striking, and people want to talk about it,” Minter says, explaining that his colleagues at Sotheby’s who catch sight of it invariably stop and want to know more. “Luke painted it in tempera, and you feel this intensity to it. Tempera adds to the drama of it. Northern Rhythm has exquisite detail, fine brushwork–it’s really amazing, an extraordinary vision.”

How to bid: Northern Rhythm is lot 333 in the Irish Art sale at Sotheby’s London on September 27.

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

SOLD! Julien’s Sells the Original Prop Bottle from I Dream of Jeannie for $34,375

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Update: The I Dream of Jeannie prop bottle sold for $34,375.

What you see: The original prop bottle from the NBC sitcom I Dream of Jeannie (1965-1970). It’s hand-painted and stands 14 inches tall. Julien’s estimates it at $40,000 to $60,000.

How do we know this is the original prop bottle from I Dream of JeannieIt comes directly to Julien’s from the estate of Gene Nelson, who directed six episodes of the show’s first season, including the pilot, titled The Lady in the Bottle. At some point, Nelson obtained a letter of authenticity from Barbara Eden, who played the title character, Jeannie. Nelson died in 1996. Eden will turn 86 in August.

Did Nelson create the I Dream of Jeannie bottle? Nelson has the strongest claim on its origin story. He was hunting for something that didn’t look like Aladdin’s lamp, spotted a Jim Beam decanter in a liquor store window, snapped it up, and handed it over to the folks in the prop department, who peeled the labels off the glass and decorated it with paint. “There’s something unique in the fact that he saw this,” says Darren Julien, founder and CEO of Julien’s Auctions. “He was scouting around, found the bottle, and had the vision to paint it. He was a good visionary.”

Was it used on the set? Almost certainly, but coming up with a precise photo match is tough, given that the prop bottles were painted to look identical. But according to Julien, the animators would have referenced photos of this bottle when creating the opening credit sequence, and it’s safe to say it was shown in the early episodes that Nelson directed. He left I Dream of Jeannie after repeated clashes with Larry Hagman, who played astronaut Tony Nelson on the show.

How rare is the bottle? “It’s very rare. We have not handled one before. Not many survive, and nobody back then would have saved anything like that,” says Julien, adding, “It’s the Holy Grail of the series to have. It’s what the show is about. Provenance is king, and it has such a solid history. It’s an iconic piece that’s going to sell for a lot more than our estimate.”

So, does it come with Barbara Eden? No, but it does include the letter of authentication that she wrote for Nelson. The bottle’s interior is also unfurnished and long since emptied of its whiskey. And neither Julien’s nor The Hot Bid is responsible for the I Dream of Jeannie theme song getting stuck in your head.

Damn you! #SorryNotSorry

How to bid: The I Dream of Jeannie original bottle is lot 486 in the Property from the Estate of Patrick Swayze and Hollywood Legends 2017 auction on April 28 at Julien’s.

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

Da DA dadadadada Da DA dadadadada Da DA dadadadadada. BadadaDA!

RECORD: An Edward S. Curtis Portrait of Oglala Lakota Leader Red Cloud Sells for $32,500 at Swann

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What you see: Red Cloud, Oglala, a platinum print by Edward Curtis, who took the photograph in 1905. Offered at Swann Auction Galleries in April 2017, it sold for $32,500 against an estimate of $6,000 to $9,000. It set an auction record for this particular Red Cloud image by Curtis.

Who was Edward S. Curtis? He was an American photographer who spent much of his life recording the cultures and people of Native American tribal communities for a sprawling multi-year project. Dubbed The North American Indian and backed by financier J.P. Morgan, it was designed to comprise 20 volumes and 1,500 photographs. He ultimately produced 222 complete sets of a planned 500. Curtis died in 1952 at the age of 84.

Who was Red Cloud? He was one of the finest, most skilled leaders that the Oglala Lakota community ever had. He made war on American forces between 1866 and 1868, killing 81 in the largest battle of what came to be called Red Cloud’s War. After signing the Treaty of Fort Laramie in 1868, his people moved to a reservation. Red Cloud sat for more than 100 photographs during his life. He died in 1909 at the age of 86 or 87.

This is an amazing portrait. It looks like it could have been shot last week. “I think that’s where Edward Curtis’s sensibility comes into play,” says Daile Kaplan, director of the photographs and photo books department at Swann. “You feel the gravitas. It’s a poignant image of Red Cloud, taken later on life. These figures [Red Cloud and his Native American peers] were leaders, were warriors. The severity of the situation of Native American people was written on their faces.”

Did Curtis develop and finish this platinum print on his own, without assistants? “Exactly, and he’s a consummate technician,” she says. “Not only does he pre-visualize and compose in rather magisterial ways, because of his familiarity in the dark room, he was exceptional in crafting prints.”

The humanity of Red Cloud really comes through. “I think the size of the image and the august nature of the figure–you can’t walk away from it,” she says. “This was part of Curtis’s genius. It was his passion to engage with his subjects. That’s why they [his photographs] are so powerful today.”

Did treating his subjects as human beings make Curtis’s photographs controversial in his time? “They were very controversial,” Kaplan says. “There was not a lot of empathy for native people. There was a tremendous fear of anyone who is other, not unlike today.”

How often does this Red Cloud image comes up at auction? “This is the first one that’s been at auction not only at Swann, but in a while,” she says. “Its rarity, its condition, and the context of its provenance all figured prominently in why it performed so well.”

Were you surprised by how well it did? “Yes, we were very pleasantly surprised. Clearly, this image is one for which there was a tremendous response, and a tremendous response across the board from dealers, collectors, and curators. In the sale, we offered a platinum print of Geronimo, estimated at $20,000 to $30,000, and at a similar size. It sold for $22,000. This image surpassed the image of Geronimo. It illustrates that a figure like Red Cloud is on a par with other names of Native American leadership.”

Why did the Red Cloud image perform so strongly? “I think that with a platinum print of this size, the notion is that they are rarer than many people anticipate, and that this material is not going to become available again,” she says. “It’s odd that the platinum Geronimo didn’t perform at the same level, but the image of Red Cloud is clearly rarer.”

What else makes this Red Cloud image so powerful? “When an artist has an opportunity to stand before someone who is august, you have to step into their power,” she says. “The image of Red Cloud almost commemorates the meeting of two great minds, and two great visions.”

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

 

SOLD! Goya’s Lavishly-Bound Presentation Copy of Los Caprichos Gets $607,500 at Christie’s

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Update: The presentation copy of the first edition of Goya’s Los Caprichos sold for $607,500.

What you see: A presentation copy of the first edition of Francisco Goya’s Los Caprichos, from 1799. Specifically, you see plate 43–what might be its most famous image–The Sleep of Reason Produces Monsters. Christie’s estimates the set of prints at $500,000 to $700,000.

Who is Francisco Goya? He’s the most important and influential Spanish artist of the 18th and 19th centuries. He captured the high and the low in his paintings and prints, from portraits of kings to the sufferings of the mentally ill. He died in 1828, at the age of 82.

What is Los Caprichos? It is a group of 80 aquatints and etchings that explore what Goya deemed follies, or foolish notions then bedeviling Spanish society. When he published the set in 1799, it flopped, with only 30 copies selling over the course of four years. “Things that are visionary often do badly when they are first published,” says Sven Becker, head of books and manuscripts at Christie’s. “It was far ahead of its time.”

Why is this copy worth $500,000 to $700,000? “This is the only known presentation copy in private hands,” says Becker. “It could actually deliver a surprising result, far beyond its estimate. There’s no reason it couldn’t hit $1 million.”

The set of prints is bound in red goatskin. What does that fact tell us? “Red goatskin was the finest material available to Goya,” Becker says. “He went to a lot of expense. It was for a person who was important to him. You would expect Goya to select the very best prints before putting them into a very expensive binding.”

So, who was the lucky recipient? “It’s inscribed to ‘Mr. X’, but the name of the actual recipient has been deleted,” Becker says. “He or she was clearly really important to Goya. It wouldn’t have been just anyone.”

But the lot notes for this copy of Los Caprichos says ‘…there is little doubt that she was María Josefa Pimental (1752-1834), Countess and Duchess of Benavente, wife of Pedro Téllez-Girón, 9th Duke of Osuna.’ Why the hesitation? “I’d love to say categorically that it’s her,” he says. “I was not able to find enough evidence. If I’d been certain, I would have put it in the headline.”

How did María Josefa Pimental know Goya? “At the time, she was known to have been one of his main patrons. He actually produced a portrait of her not long before the printing of this book,” he says. “It’s mounted on the back of one of the blank leaves. It could have been mounted by her. It’s an unusual thing to do. It feels like it had to be her.”

What else makes this copy of Los Caprichos special? “This book was personally handled by the person who made it. He put pen to paper [to inscribe it],” Becker says. “It allows us to build a bridge between the present and Goya’s time, which is so rare.”

How to bid: The Los Caprichos is lot 432 in Fine Printed Books & Manuscripts Including Americana and the Eric C. Caren Collection, a sale taking place at Christie’s New York on June 15, 2017.

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

LAST CALL: Gilbert Munger’s Breathtaking El Capitan Canvas Could Win $60,000 at Bonhams

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What you see: El Capitan in a Gathering Storm, by Gilbert Munger, painted in 1876. Bonhams estimates it at $40,000 to $60,000.

Who was Gilbert Munger? He was an American 19th century artist who taught himself to paint. While he wasn’t the first to immortalize El Capitan and other landscape landmarks of what is now Yosemite National Park, he was among the wave of artists who followed in the wake of photographer Carleton Watkins and his stereoscopic camera. In 1869, Munger served as a guest artist on a survey expedition, capturing the West’s natural splendor without giving short shrift to accuracy. Munger continued to travel the West periodically until 1875, and he helped increase Yosemite’s legend by showing his breathtaking Western images in Europe. Munger died in 1903.

What makes El Capitan in a Gathering Storm special? Munger canvases don’t come to auction all that often–archives note just 45 sales of his works between 1988 and now. The auction record for a Munger belongs to another El Capitan scene painted in the same year. In 2006, Bonhams sold A Small Encampment, El Capitan, in Yosemite Valley for $172,500.

What else makes the Munger oil on canvas stand out? “The quality is that outstanding,” says Scot Levitt, vice president of Bonhams and director of fine arts. “It catches your attention when you see it. It’s rare. And it’s exciting to see something that’s not your average scene.”

How to bid: El Capitan in a Gathering Storm is lot 6 in Bonhams’s California and Western Paintings and Sculpture auction on April 11, 2017 in Los Angeles.

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