SOLD! M.C. Escher’s Masterful Day and Night Fetches $40,000 at Swann Galleries

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Update: The M. C. Escher print of Day and Night sold for $40,000.

What you see: M. C. Escher’s Day and Night, a 1935 print. Swann Galleries estimates it at $20,000 to $30,000.

Who was M.C. Escher? Maurits Cornelis Escher was a Dutch graphic artist and printmaker who gained fame for his complex, precise, mind-boggling, and delightful images. He captured the imaginations of sages such as Martin Gardner and Douglas Hofstader, author of the classic Gödel, Escher, Bach. In 1922, he took trips to Italy and Spain that forever shaped his visions. In particular, he fell under the spell of the tessellations that decorate Alhambra, the fourteenth-century Moorish palace in Granada, Spain. Surprisingly, Escher took no formal mathematical training. He died in 1972 at the age of 73.

Escher made Day and Night in 1935, at the end of an 11-year period when he produced many of his most iconic images. How does Day and Night build on what came before? “When Escher was traveling in Italy, he did tour-de-force topographical works of landscapes. This is more abstracted. It’s not a straightforward view,” says Todd Weyman, vice president at Swann and director of prints and drawings. “In terms of his printmaking techniques and procedures, it’s classical. He’s academically trained. The linear aspects of his woodcuts are very clear.”

How does Escher achieve the exceptionally fine and subtle gradations that we see in Day and Night? “You have to imagine very, very fine cutting of the wood block by hand,” Weyman says. “He was a technical virtuoso.”

Did he work alone? “Yes,” he says. “He often signed and inscribed his prints with the word ‘eigendruk,’ which means ‘printed by myself.’ He’s saying he’s the printer. He oversaw everything at a time when it was not uncommon for an artist to work with a printer, who would handle the technical aspects.”

We should also stress that Escher did all this without the aid of a computer, which would not have been available to him anyway, and he had to carve the image into the wood block backwards to create the print that we see. “Yes. Everything is printed in reverse,” Weyman says. “You can see not just his artistry but his technical virtuosity in the medium.”

This Day and Night has no edition number. Do we know how many were made? And how often does it appear at auction? Unfortunately, we don’t know how many Day and Night prints Escher made, though other prints of his are editioned. This is the only version that he produced. Weyman says it has appeared at auction 40 times in the last 30 years, but some of those might represent the same print being consigned again. The record for an Escher at auction belongs to a 1940 print of Metamorphosis II that sold at Sotheby’s London in October 2008 for more than $246,000. The record for a print of Day and Night was set at Christie’s London in March 2013 when one sold for almost $57,000.

What else makes Day and Night special? “It has all the aspects of a great Escher that you would want,” Weyman says. “The yin and yang qualities, the way the landscape morphs into an aerial view, and the patches of landscape morph into birds, the parallel landscapes [under] day and night, the technical virtuosity, the imagination at play in this image–it’s all Escher.”

How to bid: M.C. Escher’s Day and Night is lot 618 in Swann Galleries’ 19th & 20th Century Prints and Drawings sale on September 19.

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

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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!

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SOLD! Grotto Fabulous: A Pair of 19th Century Venetian Lobster Chairs Commanded $7,500 at Christie’s

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Update: The Venetian lobster-form chairs sold for $7,500.

What you see: A pair of late 19th century Venetian lobster-form hinged chairs attributed to the manufacturer Pauly Et Cie. Christie’s estimates that they will sell for $10,000 to $15,000.

Lobster-form chairs? Well, they’re European-made, so technically, they’re langoustine-form chairs. But the American family who consigned them to Christie’s calls them lobster chairs, and they look lobster-y enough, don’t they?

Lobster-form chairs? This was a thing in late 19th-century Venice? Yes, it was a thing, but it wasn’t limited to chairs that resembled tasty crustaceans. “It’s a wonderful interpretation of grotto furniture,” says Casey Rogers, specialist head of 19th century furniture and sculpture for Christie’s. “Grotto furniture was created for an affluent clientele who were creating pleasure palaces with folly rooms, such as a grotto room.” A grotto room would resemble a grotto–a pretty little artificial cave decorated with shells, coral, and nautical things. Only select guests were allowed in to these showpiece spaces. “They weren’t public,” Rogers says. “They were a bit of a secret. They were certainly meant to be a feast for the eye.”

So subtlety was never the goal here? “Grotto rooms were meant for… you wouldn’t go halfway,” Rogers says. “You would take it to the max and make sure every surface evoked the theme.”

Are the chairs comfortable? “Would I spend the afternoon on one? Probably not,” she says, noting that they have padded seats, and the padding can be replaced with still more comfortable material. “But they’re fine for sitting for a cup of tea, or a short meeting. They’re certainly not like a lounge chair.”

How often do chairs like these come to auction? Not often. In 2008, Christie’s London sold a single hinged crab-form chair, from the same general time period and attributed to the same maker, for £11,875, or just over $22,000, against an estimate of £8,000 to £12,000 ($16,000 to $24,000).

How to bid: The lobster-form chairs are lot 195 in the Opulence sale taking place at Christie’s New York on April 13.

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Christie’s Images Ltd. 2017

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RECORD: Hunt Auctions Sets a Record with Roberto Clemente’s 1967 Silver Bat Award

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What you see: A National League Championship Silver Bat award, given to Roberto Clemente in 1967. Hunt Auctions sold it in July 2017, during the All-Star festivities in Miami, for $420,000–a record for a silver bat award at auction.

Who was Roberto Clemente? He was a Puerto Rican right fielder for the Pittsburgh Pirates from 1955 to 1972. He won the Gold Glove every year from 1961 through 1972, won the National League batting title four times, and played in two World Series. When Clemente died in a plane crash on the last day of 1972, the stewards of the Baseball Hall of Fame changed the rules to allow any player who has been dead for at least six months to gain eligibility to enter. Clemente was chosen for the hall within months of the change, becoming the first player with Latin and Caribbean heritage to earn the honor. He was 38 when he died.

How often do these silver bat awards come to auction? “It’s extremely rare for one to come to auction, especially one from someone of Clemente’s stature,” says Dave Hunt of Hunt Auctions, who notes that he’s handled about 10 of the awards over the last 25 years. “They’re inherently scarce.”

This is a full-size bat? And it’s made from solid sterling silver? Yes and yes. The 1967 Clemente silver bat weighs 55.6 Troy ounces, which equates to 3.8 pounds–more than twice as much as a standard wooden Louisville Slugger, which weighs 1.6 pounds. “It’s heavy,” Hunt says, laughing. “It’s a very, very significant presentational piece, which it should be. It was given to some of the greatest athletes in the world. You don’t want to hand them something that’s any less than the quality level you’d expect.”

Clemente earned four silver bats during his career, in 1961, 1964, 1965, and 1967. Where are the other three? The 1964 bat was sold alongside the 1967 bat in the July 2017 auction. They were subsequent lots–569 and 570. The Clemente family has the third silver bat, and the fourth, which Clemente gave to Pirates manager Joe Brown, was later sold and is now in private hands.

So the 1964 and the 1967 Clemente silver bats both came to market for the first time in the July 2017 Hunt Auctions sale? Yes. Both came directly from the Clemente family, both in the same good condition, both had the same estimate ($100,000 to $200,000). The only difference between the bats was the dates.

The 1964 silver bat fetched $260,000, and the 1967 silver bat sold for $420,000. Why did the 1967 bat do so much better?1967, statistically, is Roberto Clemente’s finest year as a hitter,” Hunt says. “That’s why this is considered the best one, and why it brought the most money.”

This set a record for any silver bat award at auction. What makes this achievement such a big deal? “To give you a sense of the significance, Mickey Mantle is one of the benchmarks, he’s on the Mount Rushmore of baseball, and it wasn’t even close. The Clemente bat sold for at least $100,000 more,” Hunt says. (Mantle’s 1956 silver bat sold for $270,000 in 2003.)

When did you know you had a record? How long do you think it will stand? “When the hammer came down, I was confident it was a record, but I had to check to make sure,” he says. “The number of players on the level of Ted Williams, Clemente, and Mantle, who won silver bats and can eclipse the Clemente bat… it’s tiny. There’s a handful [of comparable silver bats] out there, and I mean a scant handful, less than [the fingers on]one hand, that might have a chance.”

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

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RECORD! Eldred’s Sets a New World Record for Scrimshaw

© Robert C. Eldred Co., Inc.

 

What you see: A scrimshaw whale’s tooth by Edward Burdett, made in the early 1830s and inscribed, in block letters, “Engraved by Edward Burdett of Nantucket Onboard the Ship William Tell.” It shows a scene of the William Tell capturing a whale while another ship, the George and Susan, floats nearby. On the back, it shows another whaleship, the William Thomson, sailing near a coastline. Eldred’s sold it in July 2017 for $456,000, an auction record for any piece of scrimshaw.

 

Who was Edward Burdett? He was a Nantucket native and whaleman who was among the earliest to take up scrimshaw–carving or engraving images into the teeth or jawbones of whales. He ranks among the best scrimshanders to practice the art. He’s believed to have made between 20 and 30 pieces, and signed about six. He died while serving as a first officer aboard the Nantucket whale ship Montano. While his team chased a harpooned whale, Burdett became tangled in the line and was pulled overboard. His body was never found. He was 27 years old.

 

How many pieces of scrimshaw have sold for six figures at auction? “About 11, all in the 21st century. But if there’s 10 over six figures, there’s another 10 that are unreported,” says Bill Bourne, vice president and head of the marine art department at Eldred’s. “Some auction houses just don’t report scrimshaw sales to sites.”

 

This piece is fresh to market–never auctioned before. Fakes have been an issue with scrimshaw, as they have been in every collecting field. How do you know this is by Burdett? “As far as scrimshaw goes, I have a really good background in it,” Bourne says, noting that his father founded the maritime collectibles field in 1963 and he literally grew up in it. In addition, the consigner drove to New Bedford in May 2012, where a scrimshaw symposium was being held, and had the leading experts look it over. “The tooth itself, and the work done on the tooth is unmistakably his hand,” he says.

 

You described the Burdett scrimshaw as “a masterpiece.” What makes it a masterpiece? “The tooth just has everything,” he says. “He uses the whole surface of the tooth, and it has the smallest of details. The William Tell has a wonderful blowing flag. On the obverse side, in the central mast of the William Thomson, there’s a watch–a man up there. And there’s a shoreline with a lighthouse with a rooster weathervane. Not many teeth have everything, like this. They might have a whaleship with a flag, but just the ship–no land, no whaling scene.”

 

How did the auction go, and what was it like as you approached the old auction record for scrimshaw? “I was the auctioneer. I started at $100,000 and five or six hands went up instantly and drove it to $210,000 to $220,000. It came down to two people,” Bourne says. “I focused on the two bidders at that point. I kept it at $10,000 raises. Both bidders were pretty firm in going after it. Until it hit $380,000, there wasn’t any hesitation at all. When you’ve got two bidders like that, you don’t look at anyone else. You focus on those two bidders. The underbidder dropped out, I looked around the room, bang, and a round of applause. It was over in four minutes. It was a lot of fun. It was wonderful to see active bidding throughout the whole auction and on this tooth. It was like being back in 1985.”

 

How long do you think the record will last? “It’s so hard to tell. I’m not aware of something that could come up and challenge it,” he says. “All it takes is another piece coming out of a blanket box in Connecticut, or a few 45 to 50-year-old collectors coming in with unlimited funds.”

 

What else makes this Burdett scrimshaw special? “I’ve seen spectacular pieces at my dad’s, and here, and at other auction houses. If you google ‘antique scrimshaw,’ put in ‘Edward Burdett’ and you look at what’s there, you’ll realize this is something special compared to the others,” Bourne says. “Novice collectors can see this is something special compared to the others. When you look at this tooth, you can see that it’s a cut above.”

 

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

 

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RECORD: Yee-Haw! A Rare Frederic Remington Bronze Runs Away With $11.2 Million at Christie’s

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What you see: A 1906 cast of Coming Through the Rye, a bronze by Frederic Remington. Christie’s sold it in May 2017 for $11.2 million against an estimate of $7 million to $10 million. It set a world record for the artist at auction as well as a record for an American sculpture that predates World War II.

Who was Frederic Remington? He was an American artist who excelled at scenes of the West, in both painting and sculpture. The Evolution of the Cowpuncher, a piece he co-created for Harper’s Monthly in September 1893, kindled the romantic legend of the cowboy. Remington came to sculpting in 1895, well after he had earned a reputation as a master of two-dimensional art. He died of peritonitis in 1909, at the age of 48.

How many casts of Coming Through the Rye are there? “What makes it so desirable is it exists in limited quantities. There are 17 known examples,” says William Haydock, head of Christie’s American art department. “The real challenge with Remington is was it cast during his lifetime? If not, was it estate-authorized, or is it posthumous without estate approval?”

To which group does this cast belong? “Of the 17, nine were made in his lifetime. The one we handled was one of those nine,” he says, noting that it carries the number three.

When did Remington break the molds? “Famously with this example, Frederic Remington himself broke the mold on Coming Through the Rye because it was his most complex sculpture. He took a metal bar to it, and he thoroughly destroyed it,” Haydock says. “That day got the best of him, but he quickly designed another [mold].”

Why did he find Coming Through the Rye so frustrating? “The bulk of his bronzes are isolated to a single figure,” he says. “This, by far, is his most complex and challenging bronze, and many view it as his grand masterwork in the arena of sculpture.”

The bronze seems to have a lot of delicate dangly bits that could break or snap off easily. “In these examples, because they were so prized and well-regarded, they were treated reasonably well,” Haydock says, noting that this one might have had a repair to one of the figures on the left.

How often does Coming Through the Rye go to market? “Very infrequently. Before this, it was 1998,” he says. “Of the 17, ten are in institutions, one is destined for an institution, and the one we just handled is likely to follow the same path. Numbers five and six are missing. [The May sale] represented more or less the last chance to buy a lifetime example from the artist. That was the perception in the marketplace, and I think it’s why you saw huge prices.”

How long do you think the Remington auction record will stand? “Probably the only scenario is a truly phenomenal Remington painting coming on the market in the next 10 years. The only way it’s going to be eclipsed is with a painting,” he says.

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

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RECORD: A Game-Worn 1920 Babe Ruth Jersey Hit a Grand Slam at SCP Auctions in 2012

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What you see: A road gray, game-worn New York Yankees jersey that was worn by Babe Ruth. SCP Auctions sold it for $4.4 million in May 2012, setting a record for any item of sports memorabilia at auction.

How rare are game-worn Babe Ruth baseball uniforms? “If you count them all, it’s ten. If you’re talking Yankees, it’s less than half a dozen,” says SCP Vice President Dan Imler, adding that SCP has handled five of the ten.

Ruth was recognized as a superstar in his time. Why weren’t more game-worn Babe Ruth uniforms saved, even as mementoes? “In his era, even the Yankees were fairly frugal,” he says. “It was typical to issue only two home uniforms and two road uniforms for the entire season, and they were considered to be disposable. [Once the season was over,] they would send them to the minor leagues as a cost-saving measure. That’s how a lot of [pre-1970 game-worn baseball uniforms] come to market–a player in the minors is issued a major-league jersey and doesn’t go on to a career, but he keeps his jersey.”

I understand that SCP Auctions uncovered some information that made the jersey even more valuable? “There was an undiscovered element to the jersey,” Imler says. “Before it came to us, we knew it was a Babe Ruth Yankees road uniform in all-original condition, but it was not dated until it reached us. We were able to date it to 1920, which elevated it quite a bit.”

How did you pinpoint the jersey’s date to 1920? “Through photo-matching. Also, it has cut sleeves [shorter sleeves than standard issue]. We were able to find images of Ruth with cut sleeves from that period,” he says.

Your colleague, SCP President David Kohler, called the Ruth road jersey “The finest sports artifact we’ve handled in our 30-year history.” Do you agree? “I absolutely agree with that. It’s arguably the finest piece of baseball memorabilia to surface anywhere,” Imler says. “You have to start with Ruth. Ruth is on a level all his own. When it comes to baseball memorabilia, he is the king. There’s nothing more coveted than a jersey or a uniform he work on his back in the most critical period of baseball history. Any Ruth uniform would be paramount, but he wore it in the earliest part of his career, when he transformed and resurrected the game. It checks all the boxes. It has everything you could ask for.”

Well, maybe not everything. Would it have sold for even more if it was a home jersey–if it had the famous Yankees pinstripes? “I don’t think so. I don’t think anyone looked at it as if it was lacking anything,” he says. “I don’t think anyone was wanting more from it.”

SCP estimated the jersey at $2 million and up. Was it difficult to arrive at that estimate?  “Any sports object in seven figures is very uncommon. Multiple seven figures is very rare territory,” he says. “It was a lofty estimate at the time, but the market spoke and it sold for more than double that estimate. It validated the quality we believed it possessed.”

What factors drove the record price? “It was the best of the best in every category,” Imler says. “It was Babe Ruth. The quality was off the charts. It was completely original. It was from the most pivotal point in his career. And the fact that so few Ruth-worn jerseys come up–it was a huge call to action for high-end clients. When an item like this presents itself, you never know when you’re going to get another shot.”

How long do you think the record will stand? “Certainly this same jersey, if it was ever offered again, would surpass the previous sale price. I could see the record being topped in the next five years if something comparable surfaced,” Imler says, adding that he is not aware of another item, aside from the jersey itself, that could beat the auction record.

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

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