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

M38702-7 006

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

How to bid: The study for The Poisoned Apple is lot 22 in Swann Auction Galleries‘s Illustration Art sale on December 6, 2018.

 

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

 

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

 

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SOLD! Frank Sinatra’s Copy of the 1961 Inauguration Program for John F. Kennedy Fetched (Scroll Down to See)

Kennedy Inaugural Program

Update: Frank Sinatra’s copy of the deluxe limited edition of the 1961 official program of the inaugural ceremonies for President John F. Kennedy sold for $1,250.

 

What you see: Frank Sinatra’s copy of the deluxe limited edition of the 1961 official program of the inaugural ceremonies for President John F. Kennedy and Vice President Lyndon B. Johnson. Sotheby’s estimates it at $3,000 to $5,000.

 

The expert: Selby Kiffer, senior vice president and international senior books specialist for Sotheby’s New York.

 

What is this deluxe limited edition 1961 inaugural program worth without the Sinatra provenance? It’s probably something like $700 to $1,000, but maybe that’s a bit aggressive–$600 to $800 for a deluxe limited edition that went to no one of consequence except being a big donor.

 

How big was the press run? When they don’t state a limitation, my assumption is it’s fairly high. Checking results at auction, the highest-number copy was in the 700s. If I had to speculate, I’d say 1,000 [were printed].

 

How often does the deluxe limited edition 1961 inaugural program come to auction? Every couple of seasons, but it could come up at sales of political memorabilia, which is a separate area [from books and manuscripts]. There’s probably one available every 18 months.

 

What makes this version deluxe? The standard version would have been what you or I could obtain if we attended the Kennedy inaugural in 1961. This was made for presentation for donors to the inaugural event, which Sinatra certainly was, or to donors to the Kennedy-Johnson campaign. This was for VIPs, essentially.

 

How did Kennedy and Sinatra become friends? I don’t know that it’s known when they met, but it’s generally acknowledged that they met through Peter Lawford, being the senator’s brother-in-law and an associate member of the Rat Pack. Both were stars: Sinatra in entertainment, and Kennedy a rising star in politics. Both were charismatic, and both were the sort of people other people want to be around. There was mutual admiration. Sinatra was a New Deal FDR Democrat. He was probably excited to see a younger version of that.

 

Seems that Sinatra went all-in on Kennedy. He retooled High Hopes as a campaign song… I think Sammy Cahn wrote new lyrics for High Hopes as a campaign song. I think Sinatra saw a winner in Kennedy. He wanted to associate with that, and he believed in him. I think he felt he was a better choice for the country and he tried to convey that through campaigning. Sinatra had several peaks in his career. He could have made a lot of money singing anywhere, and he spent some of those nights on campaign appearances.

 

Does the 1961 inauguration of Kennedy represent the peak of the Kennedy-Sinatra friendship? I think it has to, because the inaugural balls, the entertainment, Sinatra was put in charge of that. He chose not to treat that as an honorary position. He worked the telephone, strong-armed people, and turned out an amazing cavalcade of stars to perform. The president thanked him for his work. It had to be the pinnacle for Sinatra [who probably thought]: “I helped put him in the White House, and he acknowledged me.”

 

Can you talk about how their relationship ended? Sinatra, for all his charisma and bravado and his tough-guy exterior, did not like to be disappointed. He anticipated hosting President Kennedy, as he had hosted Senator Kennedy, at his Palm Springs estate in 1962. At the last minute, after making lots of preparations for Kennedy and the Secret Service to be there, he was informed that Kennedy would not stay at his property, but would stay with Bing Crosby instead. It was particularly irksome because Crosby was a Republican.

 

Why would Kennedy have chosen to stay with a Republican rather than another prominent Democrat in Palm Springs? Crosby may have been seen as safer than Sinatra, who was seen as a bad boy, and who was in the tabloids in a way that Crosby was not. The association [with Sinatra] could prove embarrassing in a way that associating with Crosby would not be.

 

The end of the friendship is tragic, but I don’t see how it could have been avoided. Kennedy had chosen his brother, Bobby, for attorney general, and was rightly getting heat for that, even though Bobby proved capable. One of Bobby’s main tasks was targeting the mob, and if Sinatra didn’t have mob ties, many believed he had them… This is pure speculation, but maybe Kennedy tried to get a message to Sinatra to the effect of “Look, if it was solely my choice, I’d be with you, but I’ve been advised I can’t do that.” It’s speculation that the president tried to explain it that way. I think it stung Sinatra very deeply. I do think he came to realize that President Kennedy didn’t really have an open choice to stay with him.

 

Sinatra was clearly hurt by the snub, but he hung onto this program and he mourned Kennedy’s death, even though he went on to campaign for Republicans… People do change their politics. Sinatra did campaign for Ronald Reagan, who was also a former New Deal FDR Democrat. I think that progression–as people get older, the move from one party to another is not unusual. It could be his political choices were based on the man rather than the platform. Just as he found Jack Kennedy more convivial than Richard Nixon, he may have found Ronald Reagan more convivial than Jimmy Carter. I do think the continuing involvement–he found in it something similar to the adrenalin rush he could get from performing. If you’re Frank Sinatra, you’re a pretty important guy, but you’re not the president.

 

But Sinatra kept the program until he died, despite how things ended between him and Kennedy. I think he recognized it was a great moment for him and a great friendship. Some friendships don’t last, but the memory does last. The assassination of Kennedy the following year may have contributed to him keeping this. There are other Kennedy items in the sale. I think he regretted that the friendship blew up or ended, but I don’t know that he regretted the friendship.

 

The condition is described as “extremities just rubbed, a bit shaken”. Could you elaborate? Any book, if you put it on a shelf, the corners especially tend to get rubbed or worn in something 60 years old. “Just rubbed” means a bit of wear and tear, maybe at the top of the spine where you put a finger to pull it off the shelf. It’s fairly straightforward. “Shaken” is related to the pages, the substance of the book itself, to the binding. It was printed to be a paperback and inserted into the binding to delineate it as a limited edition. The binding is not always the best quality. Literally, if you hold it in your hand and shake it, you’d see the pages were moving. Nothing is sewn into the binding, but nothing is loose.

 

What does the wear say about the book, and what does it say about how often Sinatra or his wife might have taken it down from the shelf to look at it or show it to friends? I think it [the wear] is partly that, and partly–I don’t want to be harsh about it–though it was coveted at the time, it was not of the highest quality of manufacture. [The condition reflects] the quality of heavy use and mid-quality manufacture. Let’s put it that way.

 

The estimate on Sinatra’s deluxe limited edition copy of the 1961 inaugural program is $3,000 to $5,000. That strikes me as a little low. How did you choose that sum? It’s higher than any copy we’re aware of that has sold. Whenever you have a celebrity–and we learned this with the Jackie O estate auction–when there’s special interest with the provenance, it’s best not to build it into the estimate. It’s best to let the marketplace determine where it goes. We say the fact that it was Sinatra’s should increase the value three- or four-fold. In the event of a sale, it may see an increase of more than that.

 

Are there any notations or inscriptions in the book? There are no notations, but I also think it’s a matter of… during the inauguration, you want to be seen as listening, not taking notes. And it’s pretty chock-a-block. It’s dense. There’s not a lot of space left for notes.

 

What’s the world auction record for one of these deluxe 1961 inaugural programs? Our estimate is already higher than the highest price. We’re saying that of the copies that have been for sale, this is worth more than any of them. The current record, and this is not quite a one-to-one comparison because it included other material from the 1961 inauguration, such as invitations, it was copy 776, signed by Mr. Foley as chairman of the commission and given to Edward J. Sullivan. It sold at another house for $2,745. Obviously, what we want when people look at the catalog [is to think] “That’s low, I can get it.” We want to pitch the estimate so it’s appealing and will create competition among bidders.

 

Why will this piece stick in your memory? I’m a huge Sinatra fan. I’ve listened to Sinatra for four decades. And I love association copies–something that underlines a friendship in a tangible way, This is tangible evidence of friendship between two of the greatest figures of 20th century America. It’s really evidence of the culmination of the friendship and probably a highlight for both of them. Kennedy got into the White House, and Sinatra was acknowledged as very important in achieving that goal.

 

How to bid: Frank Sinatra’s copy of the deluxe limited edition 1961 inaugural program is lot 109 in Lady Blue Eyes: Property of Barbara and Frank Sinatra, a sale that takes place at Sotheby’s New York on December 6, 2018.

 

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

 

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SOLD! A Maurice Sendak-designed Crocodile Costume from the Opera “Goose of Cairo” Commanded (Scroll Down to See)

1141

Update: The Sendak-designed complete crocodile costume for Goose of Cairo sold for $3,750.

 

What you see: A crocodile costume designed by Maurice Sendak in the 1980s for a production of L’Oca del Cairo (Goose of Cairo), an unfinished opera by Wolfgang Amadeus Mozart. Rago Auctions estimates it at $3,000 to $5,000.

 

The expert: Justin G. Schiller, a specialist in rare and collectible children’s books. He co-created the corporation that consigned the costume to Rago Auctions.

 

So, how many operas did Sendak design for? Altogether I believe he did 15 operas and ballets. He began in 1980, with The Magic Flute, and his career went through to 2004 or 2005, with Brundibar. He was very interested in the experience of developing not only the sets and costumes, but trying to make the characters interactive.

 

Was this character the only crocodile character in Goose of Cairo, or was it one of several crocodiles? I think there was only one involved in the production. This is one of the few Sendak costumes that is complete. The head and feet are the main parts of those costumes. The bodysuits were painted to fit, but the crocodile costume was so specific, they kept everything.

 

Why is this costume described in the lot heading as being “After Maurice Sendak” rather than designed by Maurice Sendak? Maurice would have done the design on paper. The costume was created by the seamstresses, the people who make the costumes. In some cases, you see Maurice fix up the costume once it’s on the actor or the actress. He did the pictures, they did the physical production.

 

So he wouldn’t have been involved with making sure the costume was comfortable for the actor to wear? Yes, but if there was any problem with the fitting, he would have been consulted.

 

What do we know about Sendak’s approach to costume design? He took it very seriously. For example, when he was doing Hansel and Gretel, he went to German forests and studied the landscaping. It took him seven years to create.

 

Apparently it’s rare for a Sendak costume to survive intact, as this one does. How did it manage to do that? The production for Goose of Cairo was very short-lived. They [the few Goose of Cairo items that were found] were in a separate storage unit. It’s one of only two pieces of the production that survive. The other is a mechanical goose of Cairo that gets wheeled onstage, which Richard Michelson has. Goose of Cairo was never considered a main production, because it was an unfinished opera by Mozart. It’s usually presented as an interlude. It ran for about half an hour, and something else would have come with it. Maybe that’s why there weren’t many costumes.

 

Why are Sendak-designed costumes so scarce, compared to Sendak-designed sets? Probably because sets get rolled on stage or lowered on stage, and when they’re not on stage, they’re protected. Costumes get handled and used constantly. The condition of the crocodile is unusually good. It’s a simpler costume: bodysuit, head, gloves, foot coverings.

 

Is this crocodile costume a good representative of his opera costume design work? I would think it’s a very good example. The head is probably papier-mâché molded on top of a helmet so it fits on the head of an actor. From there, they’d build out the rest of the head, the body suit, the painted fabric. Several of the costumes we had would have the names of actors inside them and the names of the production companies.

 

Is that true here? No. I believe the crocodile had only one actor. When you have multiple figures wearing the same cluster of costumes, like in The Love for Three Oranges, different actors play the roles, and they all need to be fitted. Having names on them makes it much simpler.

 

And the provenance for this costume–it went from the New York City Opera to you to Rago Auctions? Yes, exactly. We specialize in Sendak.

 

How did you come to own the costume? The New York City Opera decided to sell all [the sets and costumes] they didn’t plan to put into sequence again [in 2013]. We decided to acquire as much as we could from productions they still had examples of.

 

How many costumes did you acquire? It didn’t seem like a lot. We purchased ten or twelve.

 

How many complete Sendak-designed costumes survive? I don’t really know. There were a few major ones. There was a fabulous one with a very grand lady who was a pig, and a bear dressed up like a lord, [both] for a different opera, and they went for $4,000 to $6,000 each, as the hammer price [the price before the premium and other fees are applied]. I talked to the collector afterward. She was a very serious collector of opera and theater costumes. It was a unique opportunity to acquire a costume by Sendak.

 

When Sendak created book illustrations, he worked in two dimensions. When he created opera costumes, he had to think, to some extent, in three dimensions. How did he handle this challenge? Sometimes it’s the costume people, but Maurice’s drawings often show a profile, how it looks from the side. But sets are one thing, costumes are another. The catalog only shows side views of the crocodile head. Head on, it’s fantastic.

 

What details on the crocodile costume mark it as a Sendak design? Maybe with certain specific styles, you can look at it and say that’s a David Hockney or that’s a Picasso. With Sendak, I would say basically the [sense of] fantasy, of playfulness. His ogress would be friendly, even if the character was not.

 

What jumped out and me and said “Sendak” was the crocodile’s eyes, and the snout. It certainly was the eyes that got us. They’re wonderful, almost yolk-colored eyes. The snout–most artists would draw it as menacing. Sendak’s snout is friendly instead of menacing, despite all the teeth.

 

The condition report states that the costume has “wear commensurate with theatrical use.” What does that mean in this context? It’s got scuffs or scrapes on the bottom of the tail and the foot coverings? That [the language] is mostly so people don’t think it’s brand new. The bodysuit may have a tear in the stitching, but overall, it’s quite good, and very dramatic.

 

Have you or your gallery partner or anyone at Rago Auctions tried on the costume? You need a slim body [to wear it]. We told Rago they’d need some kind of body form [to display it and photograph it]. They were able to find a person on staff who could do the pictures. We were surprised and pleased that they were able to do that.

 

How does the wearer see? There are eyeholes in the neck.

 

Do you know what size the costume is? I don’t. Dennis [Dennis David, Schiller’s gallery partner] is suggesting it’s probably more of a medium. Maybe that’s why the crocodile is not looking too hungry.

 

Is the head attached to the tail, or are they separate pieces? The head is certainly separate. The tail is attached with button snaps to the back of the bodysuit. The gloves are part of the bodysuit. The head, in itself, is very decorative.

 

What’s the auction record for a Sendak-designed costume? The only auction I know of is from the New York City Opera sale, three costumes that were very elaborate in themselves. We were the underbidder. They were probably from The Love of Three Oranges. Those sold for between $4,000 and $6,000 each.

 

How to bid: The Sendak-designed crocodile costume is lot 1141 in the Curiouser and Curiouser sale at Rago Auctions on December 1, 2018.

 

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Justin G. Schiller has a website. Two, actually.

 

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

 

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SOLD! Sotheby’s Sold Richard Feynman’s 1965 Nobel Prize for Physics for (Scroll Down to See)

9886 Feynman Nobel Prize

Update: Feynman’s 1965 Nobel Prize for Physics sold for $975,000.

 

What you see: The Nobel Prize for Physics, awarded to Richard Feynman in 1965 for his contributions to creating a new quantum electrodynamics. Sotheby’s estimates it at $800,000 to $1.2 million.

 

The expert: Cassandra Hatton, vice president and senior specialist for books and manuscripts at Sotheby’s.

 

In the press release for the sale and in the raw lot notes for the Nobel Prize, Feynman is described as a “rock star of physics” and “one of the most beloved scientists of all time.” What makes him so? I think what earns him the title of the “rock star of physics” is his personality–who he was as a human, and his intellectual capacity. If you look at other physicists of his caliber, you don’t see relatable humans with the same intellect. You could compare Feynman to Einstein, but Feynman loved teaching, and it was more important to him than theoretical work. Rock stars transcend their genres. They’re not just musicians. Feynman transcended his work. He would always say there’s nothing magical here, that he was just very curious, worked hard on the questions, and figured it out. But he inspired people, and he imparted excitement to people.

 

Feynman died 30 years ago, but he’s just as popular now as he was when he was alive. How has he managed to persist? Why hasn’t his memory faded? Partly it’s because of his personality, who he was. A lot of scientists are best known for their work. With others, the subject that won the prize is far more famous than the person who did the work. Because Feynman was such a popular figure, he was able to stay popular.

 

Have his books and his former students played a role in keeping his memory alive? He taught so many people who went on to teach other people who are super-successful and doing things they love to do. Not all are physicists, but they apply what they learned from Feynman to their lives. One of his biggest lessons was to enjoy life and enjoy what you’re doing. I’ve met many of his students, and they’re generally happy, fun-loving people. And I think the books definitely help.

 

It’s interesting that Feynman’s fame persists without the help of an Academy Award-winning film, such as A Beautiful Mind. At the end of the day, an Oscar-winning film is just an Oscar-winning film. Feynman doesn’t need a film. He became his own legend. He’s one of the rare people who was human, fun-loving, and also a fun-loving genius. He defied the stereotype of the scientist in a lab, not interacting people, with no social skills. He was the opposite of that.

 

Feynman won the Nobel Prize for Physics in 1965 for work on quantum electrodynamics. Using non-technical language, can you explain why his contribution to science was such a big deal? Feynman was asked the same question, and he said, “Hell, if I could explain it to the average person, it wouldn’t have been worth the Nobel prize.” To be frank, I don’t understand it completely.

 

Feynman was one of three who earned the 1965 prize for work on this problem. Did he work directly with his fellow winners, Julian Schwinger and Sin-Itiro Tomonaga? They were all working on similar problems independently, but they knew about each other and were aware of each other’s work. Schwinger and Tomonaga took a mathematical approach to how to reconcile quantum mechanics, a 19th century science, with quantum electrodynamics, a 20th century science. Feynman’s approach was completely original and took a completely different direction. One of the ways he explained it it was by coming up with Feynman diagrams [click those words to see what a Feynman diagram looks like]. Those diagrams really revolutionized how we do quantum electrodynamics. They’re standard now.

 

How did Feynman learn that he’d won the Nobel Prize? He got a phone call at 4 am from a reporter. My understanding is he was unhappy about it [both the crazy-early phone call and the news of the win]. He asked his wife, Gweneth, how he could get out of it. He had a good life, and he knew the win would change things. I think the way it goes is she said, ‘Dear, the publicity would be worse if you don’t accept the prize.’ So he went to Stockholm and ended up having a great time. Feynman had been raised with a suspicion of institutions and authority. [Receiving the prize] played into his reluctance, because it was another symbol of the establishment. But he realized the machine had started running, and it’s harder to stop the machine than go along with it.

 

What did Feynman do with his share of the Nobel Prize money? He spent part of it on a vacation house in Mexico, and he bought a van. There’s an episode of The Big Bang Theory in which they take the Richard Feynman van and drive down to Mexico and stay in Richard Feynman’s vacation home.

 

Have the other two Nobel Prizes in Physics for 1965 come to auction? No. I keep a spreadsheet of all the Nobel Prizes ever sold. I’ve been obsessed with the market for Nobels for a long time–I started tracking them in 2012. They have not come up.

 

How have you seen the market for Nobel Prizes change over time? A few had come up, three or four, since 1988. Then Francis Crick’s Nobel sold at Heritage Auctions for $2.2 million in 2013, and it kind of sparked a flurry. It was the highest price ever paid for a Nobel, and it really got a lot of attention. It was followed by James Watson’s Nobel Prize selling at Christie’s in 2014 for $4.7 million. What’s really interesting is most of what we sell has no inherent value, but the story is what is valuable. Whereas a Nobel Prize actually has a value. Prizes minted before 1985 are made from 23-karat solid gold. Depending on the value of gold, they’re worth about $10,000. Prizes minted after 1985 are plated with 24-karat gold.

 

The price range for Nobel Prizes at auction is all over the place. Which ones sell for the most money? I’ve been trying to figure out which categories are worth more. The fewer the words you need to explain why a person won the Nobel, the more it sells for. With Watson, it’s “DNA.” No need to explain. “DNA” is enough. With Feynman, you can just say “Feynman.” No one is going to ask me to explain quantum electrodynamics, thank God.

 

How often does Feynman material come up at auction? It’s super-rare. There have been two manuscripts by Feynman to come to market. One was at Sotheby’s in 2006–lecture notes from one of his students, who was helping transcribe them. The other was a sheet of calculations he signed to Egon Lehmkuhl, which sold at Sotheby’s in 2008. Do you know who bought that?

 

No. I bought it. I was a dealer at the time. I sold it and I started looking for Feynman material obsessively. Those two manuscripts that came up were total flukes. All his material is in the archives at Caltech. Since then, four copies of Surely You’re Joking, Mr. Feynman! that he signed and gave to friends have come up. One of them sold at Sotheby’s last year for $43,750.

 

What else comes with the Nobel Prize as part of the lot? There’s the Nobel, the box it comes in, the diploma, and two programs. One says things like ‘the limo comes at this time, this is a white-tie party, you’ll eat this meal.’ The other is a program with translations of the Nobel speeches. On the back, Feynman has doodled Feynman diagrams. To get Feynman diagrams on the back of a Nobel Prize ceremony program is pretty cool.

 

Has a Feynman diagram drawn by Feynman ever gone to auction before? Prior to this, no. There are other manuscript lots in the sale that have Feynman diagrams.

 

I’m surprised that more Feynman material hasn’t managed to escape to the market, here and there. Yeah. Again, because he gave just about everything to Caltech, what stayed at his house were things he probably thought weren’t important. But when you look at them, you realize they’re extremely important. Final manuscripts don’t tell you much. How he gets there is much more interesting. What you see in the manuscripts [offered in other lots in the November 30 sale] is how he gets there. You see how he gets from A to Z.

 

What other Feynman pieces are in the sale? There are about 40 lots. They include a tambourine, very conveniently signed by him, thank you Richard Feynman, which he bought in Copacabana, Brazil. He talks about it in Surely, You’re Joking, Mr. Feynman!, and it’s torn from being played too much. There’s his undergraduate copy of Paul Dirac’s The Principles of Quantum Mechanics, with his handwritten annotations. Some [pages] have very heavy annotation. One says ‘prove this one day’ or ‘figure it out one day’–it’s the book that made Feynman Feynman. [Later she clarified: The notation is “analyze this some day”, and it’s in a section about the polarization of photons.] There are transcripts from the Oppenheimer hearing. There are some arithmetic books from his undergraduate years. The books are really, really interesting. He lived in a frat house at MIT. One book has his MIT address and his address in Far Rockaway. Then another book just has the MIT address–a shift that says ‘This is my home now.’ There are clues that tell you about the young Feynman.

 

Whoa, whoa. What was it like for you to look through all that stuff? Honestly, I teared up. I could not believe it. I could not believe it. I had said to a colleague the year before that the only Nobel Prize I wanted to sell is Richard Feynman’s. To get that call… I’m a specialist in science and technology. I don’t talk about fate, but it felt like cosmic alignment to get that call.

 

The estimate on the Feynman Nobel Prize is $800,000 to $1.2 million. The world auction record for a Nobel Prize is $4.7 million. Do you think Feynman’s has a chance to approach or beat the record? I’m optimistic it will exceed the estimate, but at the end of the day, it’s just an estimate. I don’t know how it will do until the day of the auction, but it’s not… it’s such a weird thing to say, but it’s not a regular Nobel Prize. Because Richard Feynman is a celebrity, he’s in a different category. There’s no comparable [no lot sold before at auction] that’s exactly like it. It’s an unusual situation. The work [that the Nobel Prize recognizes] is tremendously important and the personality is tremendously important. That Venn diagram is what buyers look for.

 

The Nobel Prize world auction record belongs to one that was awarded to a scientist. Why? Why hasn’t a Nobel Prize for Literature or Peace sold for more? Part of it is looking at the demographics of the buyers. If you look at the Forbes 500, a lot of the wealth today comes from or relates to science. And a lot of people are motivated by nostalgia, a time when they were happy and young. With Feynman, bidders remember studying his work in college or reading Surely, You’re Joking, Mr. Feynman!, and being inspired by him. It’s not that Nobel Prizes for Peace or Literature are less important. There are just fewer buyers.

 

How many Nobel Prizes have you handled? How is this one different? I’ve handled six or less. The others were certainly important and exciting, but this one got my pulse going. You try not to be, how can I say it, emotionally involved in a sale, because sometimes, things don’t sell. This is something I’ve been obsessed with. Feynman is my favorite scientist of all time. I’ve got pictures of him in my office. I don’t know how I’m going to top this one, let’s put it like that.

 

How to bid: Richard Feynman’s Nobel Prize is lot 67 in the History of Science & Technology sale at Sotheby’s New York on November 30, 2018.

 

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

 

Sotheby’s is on Twitter and Instagram, and you can follow Cassandra Hatton on Twitter and Instagram.

 

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

 

Cassandra Hatton spoke to The Hot Bid in July 2018 about an Apollo 13 space-flown flight plan, which ultimately sold for $275,000–more than six times its high estimate.

 

If you haven’t yet read Surely, You’re Joking, Mr. Feynman! yet, you have a treat ahead of you. Purchase it from an independent bookseller, such as The Strand Bookstore in New York City.

 

In case you missed it above, here’s the link to background on the Feynman van, as well as a website about Feynman himself.

 

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

SOLD! The First Taking Care of Business in a Flash Necklace That Elvis Presley Gave Away Sold For… (Scroll Down to See)

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

How to subscribe to The Hot 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.

 

Julien’s Auctions is on Twitter and Instagram.

 

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

 

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

 

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Sold! Swann Auction Galleries Sold That 1928 Roger Broders Poster for $7,500

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Update: The 1928 Roger Broders poster featuring Calvi Beach in Corsica sold for $7,500.

 

What you see: La Place de Calvi. Corse, a 1928 poster by Roger Broders, touting Calvi Beach on the Mediterranean island of Corsica. Swann Auction Galleries estimates it at $8,000 to $12,000.

 

The expert: Nicholas Lowry, director of Swann Galleries.

 

Where was Roger Broders in his career in 1928? Let me give you a little background first. In 2011, we were very lucky at Swann to hold a sale called The Complete Poster Works of Roger Broders–every poster he ever designed. We have handled all his material at the same time. We’re in a good position to have an overview. We arranged the catalog in chronological order, first to last, and we had 100 lots in the auction. This poster was number 49, so, midway in his output, if not his actual career. He was at a stage when his figures take on a lithe, elongated look.

 

Was this his first poster for this client? Oh, no. PLM was his major client, his primary client. Between two-thirds and three-quarters of his posters were done for them.

 

A railway company commissioned this poster from Broders, but there’s no train in it. Why would a railroad want a travel poster that didn’t show a railroad? The railway teamed up with ferry services. You would have booked the ferry through the train company–it was a PLM ticket. PLM was like a travel agency, in that way. This [Corsica] was along their extended route.

 

What makes this Broders image a strong poster design? I see a bright patch of orange in the middle–a beautiful, brightly colored, artistically decorated wrap. If I was passing by this, I would stop because I saw a flash of orange. Then I’d see the pretty lady. The composition is fantastic. The curve of the shore is a Broders design motif. Her body cuts right through it. It’s very eye-catching. And at the time, people wouldn’t have thought this, but it’s an incredible Art Deco image. This is archetypal Art Deco. The coastline is sweeping, the cape is moving, the waves are lapping at the shore.

 

Was it unusual for Broders to place a woman front-and-center, as he does here? Lot 72 is the same woman seen from the back. There are a handful of other posters where he has figures taking the central place.

 

I went back and forth between those two posters, lot 71 and lot 72, and settled on this one because I recognized the woman’s feet and legs. They look like the feet and legs of Venus in Botticelli’s Birth of Venus. It’s almost as if he traced them. I don’t see anything mentioned in the lot notes, though. Is Broders quoting that painting?  The tilt of her head is similar, and the elongated neck is similar. There’s no way it’s a coincidence. It’s too accurate. 100 percent, this is a nod to Birth of Venus.

 

And the Birth of Venus is, technically, a beach scene… It gets better and better. If you look at the bottom of the poster, there are two figures on the left of the woman and one on the right. That’s also like the painting. The figure on the right in the painting is about to shroud Venus with a cloak. In the poster, the woman has a wrap. There’s not a lot of info on Broders, but the Birth of Venus is in Florence, and he did a poster for Florence in 1921. And that’s his style–the elongated style appears in other posters.

 

Was it typical for him to quote paintings in his posters? Off the top of my head, I’ve never seen a pose in his posters that made me think he was copying an Old Master.

 

How many of these 1928 Corsica posters have you handled, and what is the auction record? It’s not rare, but it’s not common. At least 23 have been auctioned since 1988. We have had it three times. The first time was in 2011. The auction record is $16,800, set at Poster Auctions International in February 2018.

 

Where does this rank among Broders’s poster designs? Certainly in the top 10 and probably in the top five. Now I’m biased, knowing it was based on the Birth of Venus. I thought it was a great poster before you said that. Now it’s like, wow. It’s because of the composition, the color, the style, and the attitude it broadcasts–summer laziness, aristocratic decadence. It’s certainly how high society lives. There’s no question this is an elegant lady.

 

What else do you like about this poster? He has made the landscape realistic. It’s Calvi Beach in Corsica, and it wraps around Corsica. That sweep is not an exaggeration. He has accurately represented the surroundings. It’s a tribute to the level of detail he put into his work. Some posters are really supposed to represent an attitude. This is about a destination, too. Lot 72, the woman with her arms to the sun–that doesn’t tell you anything about where you’re going. There’s a beach, but it’s not the same level as this.

 

How to bid: The Roger Broders 1928 Calvi Beach poster is lot 71 in the Rare & Important Travel Posters sale at Swann Auction Galleries on October 25, 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.

 

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

 

Nicholas Lowry has appeared several times on The Hot Bid. Read past entries in which he  talks about Swann setting the world auction record for any travel postera 1938 London Transport poster by Man Ray that ultimately sold for $149,000a trio of Mont Blanc posters from 1928, a mid-1930s German travel poster featuring the Hindenburg, a 1968 MoMA poster by Japanese artist Tadanori Yokoo, an I Want You 1917 World War I recruiting poster that introduced the modern concept of Uncle Sam, and an Alphonse Mucha poster featuring Sarah Bernhardt.

 

Are you a professional art historian? Here’s the full Swann Auction Galleries catalogue for The Complete Poster Works of Roger Broders. Can you find more instances of Broders quoting a work of art? If you do, tweet it to @SGSwritereditor, @SwannGalleries, and @NichoLowry, along with a WikiCommons image of the work the poster is emulating.

 

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

 

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SOLD! African-American Outsider Artist William Edmondson’s “The Crucifixion” Commanded $175,000 at Rago

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Update: William Edmondson’s circa 1930s sculpture, The Crucifixion, sold for $175,000.

 

What you see: The Crucifixion, a 1930s sculpture by the outsider artist William Edmondson, who was the first African-American to have a solo show at the Museum of Modern Art in Manhattan. Rago Auctions estimates it at $30,000 to $50,000.

 

The expert: Sebastian Clarke, director of estate services for Rago.

 

Did William Edmondson use a railroad spike as a chisel for most of his artistic career? He did, though to the best of my knowledge, he used smaller, finer chiseling tools as well. He was very much self-taught. I can send you a discovery–the original press release from the 1937 MoMA show, which includes an interview with him. The list of pieces to be shown includes a version of The Crucifixion. He did three or four different versions of The Crucifixion, and we don’t know if this is the one that was in the show, or another example. Of the three or four, one is in the Smithsonian, at least one other is in a private collection, but was exhibited in 2005, one is unknown [its whereabouts are unknown], and one is ours.

 

How does this version of The Crucifixion compare to the others? The others have more fully formed figures, with pierced areas between the arms and the cross [the arms are separate]. This is more of a relief, with a flat face. What I love about it is it really conveys Edmondson’s work. It’s impossible to identify it as male or female. Of the others, two ore three are male figures wearing loincloths or underpants. This one is completely plain.

 

Edmondson preferred limestone. How difficult is it to carve limestone? It’s very, very difficult to carve. What’s fabulous about this is its condition is so good. You can really see the strike marks where he worked the stone. This is almost smooth to the touch in so many areas.

 

The sculpture measures 15 and a quarter inches high by 10 and a half inches wide by five inches deep. Is that relatively small for an Edmondson? It’s a hair on the smaller side. His animals seem to be a little smaller. His figures got to be 23, 24 inches. Of his Crucifixions, one is 20 inches and another is 26 inches. So it’s definitely smaller for a Crucifixion, but squarely on the average side for pieces he worked.

 

Earlier you told me, “This work is as close to Edmondson’s original intent as they get.” Could you elaborate? Edmondson’s pieces are extremely symbolic. The scenes are often drawn from his religious beliefs. This Crucifixion is part of that body of work. The surface is just so fantastic. It’s clearly a crucifixion, but it’s up to the viewer to interpret the rest of the thing.

 

This is Edmondson’s only crucifixion sculpture to come to auction. How did you put an estimate on it? We’re aware the world auction record for an Edmondson is nearly $1 million, for a wholly different work. The nature of this is cruder and more simplistic. And a crucifixion, in my experience in the art world, sometimes places limitations on value. We want to take that into account.

 

But it’s not a gory, gruesome crucifixion scene. It’s pretty stylized. And people who collect folk art and outsider art, they know they’re going to encounter pieces with intensely religious themes. True. But the value will be determined by the marketplace. We’ll have to wait and see what happens. I’ve been in the business for 20 years. I’ve never handled an Edmondson before. Whenever they come up for sale, they always far exceed the estimate. We’ll try to replicate that success.

 

Edmondsons rarely go to auction. Is that because most of them are in institutions, or is it because collectors are reluctant to give them up, or both? Several examples are in institutions, and the ones in collectors’ hands are often promised to institutions. Folk art and outsider art collectors take a lot of pride in their collections. Edmondsons come up so rarely, everybody pays attention.

 

What’s the world auction record for an Edmondson? The Boxer, a circa 1936 piece that sold at Christie’s in January 2016. It had an estimate of $150,000 to $250,000 and it hammered at $785,000. I’d love to see it [The Crucifixion] beat its estimate but I’d be surprised to see it go beyond-beyond. Artnet only has 24 records. It’s a very shallow pool, and none are a crucifixion. They don’t come from a similar period or style, where the features are not very well-defined. What will that do to it? Will it make it more desirable, or less? We’ll have to wait and see.

 

What is the sculpture like in person? It’s fabulous. It’s so bright and crisp. There’s something magnetic–you’re drawn to it, and the color and the surface are lovely. It looks like it’s never seen the light of day. The chisel marks are so well-defined on the back. There’s something really exceptional about it.

 

What does it feel like to hold it in your hands? It’s heavy, probably around 40 pounds. It is surprisingly smooth. You can really feel the weight of the piece, the way the figure is defined on the cross. You want to turn it over and look at the back, which is not easy to do, because it weighs so much.

 

Is that something that collectors look for in an Edmondson–chisel marks? Or are they so rare that they can’t afford to quibble if they’re missing? The whole idea behind outsider and folk art is really feeling a connection with the individual who made it, to feel them reflected in the piece. In the chisel marks, you can really see him working on it.

 

Why will this piece stick in your memory? Probably because I’ll never handle one again. [Laughs.] Edmondsons are something you only hear about, but don’t get to see. For me, personally, my training is in European furniture and decorative art. This is something I’ve grown to appreciate and love. I’ve always been a high-style person. I’ve come to appreciate pieces that are naive in so many ways, but are spectacular. It’s so magnificent.

 

How to bid: The Crucifixion will be offered in Autobiography of a Hoarder: The Collection of Martin Cohen, Part I, which takes place October 21, 2018 at Rago.

 

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.

 

Rago Auctions is on Twitter and Instagram.

 

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

 

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