SOLD! The Cover Model For Rago’s Curiouser and Curiouser Auction–A 19th Century Life-Size French Artist’s Mannequin–Fetched $45,000

39

Update: The antique French life-size articulated wooden artist’s mannequin sold for $45,000.

What you see: A life-size articulated wooden artist’s mannequin, made in France, dating to around 1860, and measuring about 60 inches tall. Rago Auctions estimates it at $20,000 to $25,000.

If you were an artist in the 19th century and could afford a life-size articulated wooden mannequin, couldn’t you afford to hire a live model instead? “Possibly, but live models were not always available. And a mannequin can hold a pose forever. It’s almost more posable than a real person,” says Marion Harris, a specialist in antique mannequins and curator of the Curiouser and Curiouser sale for Rago. “Life-size artist’s mannequins were expensive, and they were valued in their own right. They became something of worth in an artist’s inventory. Mannequins were often listed in the estates of artists when they died.”

How many life-size artist’s mannequins have you dealt with? How many are known? Harris says she has handled 15 to 20 over the last quarter-century. She suspects that maybe as many as 100 were made between the 16th and 19th centuries, and as many as half might survive. “They’re just about always androgynous,” she says. “I’ve looked at the same one and seen it as male, then seen it as female.”

Would one artisan have carved the face, and other artisans have carved the rest of the body? “I don’t know how they did it, but it’s likely. Four or five ateliers were known for carving them. Even the bad mannequins are very good. It’s so hard to do,” she says. “This mannequin has a particular sensitivity to the carving. It’s so lifelike.”

Ribs were carved into the mannequin’s torso. Why? “That’s another sign of quality, when the ribs are evident,” she says. “You do want to see the ribs, if you can. It lets the piece look more realistic. Without the ribs, it looks more puppet-like. Anything that gives the mannequin a more realistic human quality to its features makes it more efficient and effective for the artist.”

Does the mannequin have a patina? “It has a brilliant patina–not just from being handled, but from age. It glows with pride as well as age, I like to say,” she says.

How much does it weigh? About 100 pounds. “I could almost carry it. But it would have been on a stand. Once it’s on a stand, it’s completely posable,” she says. “It’s almost like a real person.”

People might know the mannequin from the Manhattan shop window of Ann-Morris. How did you convince the shop’s owners to consign it? “Everybody wanted to buy it. They would rent it to films, but they would never sell it. Now that the son has taken over the business, I finally got him to part with it,” she says. “It’s a fitting way to part with it. They wanted to give it a rather grand farewell. They’ve had others, but this one was always the queen.” (Harris later confirmed that though the mannequin had appeared in the window since the 1970s, the family never gave it a name, surprising as that might seem.)

What else makes the mannequin special? “I’ve seen other mannequins. This one almost calls out to you to say, ‘Touch me, love me, hold me, pose me, care for me. I’m here for you and you’re here for me,'” she says. “Even people who’ve never seen it before stop in their tracks. And a number of people would have seen it and looked at it adoringly [when it was in the Ann-Morris window].”

How to bid: The life-size articulated artist mannequin is lot 39 in the Curiouser and Curiouser auction on October 22 at Rago Auctions.

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

Rago Auctions is on Twitter and Instagram.

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

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

SOLD! Rare René Lalique Vase Commands $25,000 at Rago

1000

Update: The Lalique Tortues vase sold for $25,000.

What you see: A Tortues (Turtles) vase by the French glass master and entrepreneur René Lalique, rendered in amber glass with a hand-applied white patina. It was designed in 1926 and produced between 1926 and 1945, when Lalique died. Rago Arts and Auctions estimates it at $10,000 to $15,000.

This vase was made from amber glass. Why does it look ruby red, then? “It does come across that way. Without light penetrating them, the colors on a Lalique vase can look different, definitely the darker colors,” says David Rago of Rago Arts and Auctions. “My understanding is this is the best of them. You don’t see this color in many pieces to begin with. The patina brings out some of the detailing.”

How rare is this Lalique vase? Rago can only recall handling one other example, which was also a dark amber. His auction house sold it for $34,000 in 2006. While it was in production for almost 20 years, not many were made, probably because of the thickness of the glass and the unusual bulging shape.

How does its relatively large size (10 1/2 inches by 9 1/2 inches) enhance its value? “The larger vases were not made in great numbers. It’s not a massive piece, but it’s bigger than a lot of them,” says Rago. “It’s a statement piece of Lalique.”

What else makes this Lalique vase special? “Glass can be feminine by nature. I find this to be a fairly masculine piece in the form, the size, the weight of it, and the design,” says Rago. “It’s not a soft pink. It’s not a particularly pretty color. Instead of being fluid and curvilinear, this is heavy, large, and thick. Most of his vases tend not to have that type of strength. And it’s big, it’s rare, and it’s in perfect condition. If you have a checklist for a major molded piece of Lalique, you have it all.”

How to bid: The Lalique Tortues vase is lot 1000 in the Solana Collection of Lalique Glass auction, taking place May 20, 2017 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.

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

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

LAST CALL: Nothing But Net: Grant Zahajko Could Sell a 1936 Olympic Basketball Gold Medal for $150,000

HIghRes_Olym_golda

Antiques Roadshow returns to PBS with new episodes starting on Monday, October 30, at 8 pm (check your tv listings for your local station). To celebrate its pending return, I’m reposting stories from The Hot Bid that feature people who’ve appeared on the show as appraisers. Up first is Grant Zahajko.

What you see: The Olympic gold medal awarded to John Haskell “Tex” Gibbons for his role in propelling the United States basketball team to victory in 1936. Gibbons was 28 at the time. The medal is double-sided and gold-plated and measures just over two inches in diameter. It comes with a letter of authenticity from his family and ephemera that he gathered on his Berlin adventure. Grant Zahajko estimates it at $100,000 to $150,000.

Who was John Haskell “Tex” Gibbons? He was a 6’1″ inch guard who played professional basketball years before the NBA arrived. He was on the team at Southwestern College, in Winfield, Kan., and moved on to the Amateur Athletic Union (AAU), playing for the McPherson Globe Oilers. He earned his nickname from the state where he was raised. He died in 1984 at the age of 76.

Why was the 1936 US Olympic basketball team important? “1936 was the first time basketball was an Olympic event,” Zahajko says, adding that more than 20 countries fielded teams and James Naismith, creator of the game, then 74, crowned the winning team with laurels.

What did the Americans have to do to win? “Hitler was not aware of basketball and didn’t give it much recognition. He built gyms, but he didn’t build one for basketball. They played on lawn tennis courts,” he says. “They played [the Olympic final] in a downpour. They couldn’t dribble. They could only pass.  It was a low-scoring game.” The U.S. squelched its way to the gold, defeating Canada 19-8.

Are Olympic medals from 1936 more valuable than those from other years? “1936 medals are very sought-after, even gold medals with no attribution,” he says, referring to those that come to market without related material that proves who earned them. “It’s because of the importance of that Olympics, and how tense and charged it was. Hitler promised not to push his [regime-glorifying] campaign, but he did not hold to that.”

How many other 1936 Olympic gold medals for basketball have you handled? “Only three from the 14-man team have ever surfaced, and I’ve had the privilege of touching all three,” he says, alluding to having appraised them. One went to auction at another venue in 2015. It commanded $67,000 despite suffering heavy wear that included having a hole drilled at the top so it could be worn as a necklace. The Gibbons medal is in far better condition. “It’s no longer in its original box, but it’s been well-cared for,” Zahajko says.

How to bid: The gold medal is lot 110a in the Sports Cards and Memorabilia, Autographs, Entertainment, Transportation & More! sale offered by Grant Zahajko Auctions on June 24, 2017 in Spokane, Wash.

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

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Grant Zahajko Auctions.

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

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

BE170943-1c

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.

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.

Freeman’s is on Twitter and Instagram as well.

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

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 George Nakashima Sanso Table with Conoid Chairs Fetches $187,500

DchairTablecombo

Update: The Nakashima Sanso table with Conoid chairs sold for $187,500.

What you see: A Sanso “Reception House” table and six Conoid chairs, designed and made by George Nakashima in 1981. The table is 28 inches high, 60 inches wide, and 84 1/2 inches in diameter. All seven pieces are signed with the surname of the client. Freeman’s estimates the group at $100,000 to $150,000.

Who was George Nakashima? He was an American woodworker who became one of the most influential furniture-makers of the 20th century. Born to Japanese immigrants, Nakashima had traveled extensively in Japan by the time he was forced into an internment camp in Idaho during World War II. There he met an inmate who taught him Japanese carpentry techniques. Architect Antonin Raymond helped free Nakashima in 1943 and invited him to stay in New Hope, Pennsylvania. Nakashima never left. He developed a style that respected and celebrated the rugged, natural aspects of wood, and which turned its flaws into strengths. He died in 1990 at the age of 85.

Why are Sanso tables so rare? Was it difficult for Nakashima to find suitable pieces of lumber? “It was tough to get really good slabs of wood at this size,” says Tim Andreadis, department head of 20th century design at Freeman’s, adding that fewer than a dozen Sanso tables exist. “Finding a board that was conducive to this purpose was more difficult and more costly. This one is a really nice English walnut, which is what the client wanted.”

The table comes with six Conoid chairs. Is this the full original set of chairs? Yes. “What’s really nice about them is they’re single slab seats,” he says. “Single slab seats were three times more expensive to purchase. They’re usually better-quality wood, and they’re all very even in color. There’s a nice contrast between the American black walnut chairs and the English walnut Sanso table.”

We know the client was Stanley Frosh and his family. What do we know about the Froshes? “They [the furniture] were made as a set and originally used in Stanley’s judge’s chambers before moving them to his home as a reception-slash-dining table for the family to use,” Andreadis says. “The Frosh family was extremely close to the Nakashimas. When George passed, the whole [Nakashima] family sat around this table to discuss the future of the George Nakashima studio. It did become a table around which big decisions were made.”

This Sanso table has several butterfly joints in it–bow-tie like fittings that help hold the tabletop together. Did Nakashima invent the butterfly joint, or did he make it his own? “Butterfly joints were used for centuries, but he made them his own,” Andreadis says. “They were used on the undersides of furnishings. You didn’t see butterfly joints. George respected the honesty of the construction process, and he wanted to make it visible. He thought it was something to be celebrated rather than hidden.”

Does the large number of butterfly joints increase the value of the Frosh Sanso table? “That’s definitely true,” he says. “It shows that George wanted to preserve the piece of lumber. In order to do that, he needed to use more butterfly joints to shore up the piece of wood. He didn’t put them on willy-nilly as a decoration. The joints prevented splits in areas that would have split over time. George worked through all the problems. He didn’t put a Band-Aid on them. He embellished them and drew your eye to them.”

And has the table held together well? What condition is it in? “It’s in fantastic condition,” he says. “The family always recognized it as a masterpiece, and revered it as such, and treated it as such. George made it later in his career, in the sweet spot between the late 1970s and the early 1980s, when he was catching his stride and reflecting what his design ethos was about. It’s a beautiful thing to behold in person.”

A Paris auction house sold a Sanso table in American black walnut, without chairs, for roughly $207,000 in May. Do you think this suite of Nakashima furniture will do better? “I think it certainly has that potential. It’s one of the most dramatic Sanso tables to come to market. Even if it was just the table, I’d gush about it. It’s absolutely a blue-chip masterwork by George Nakashima,” he says. “To have Mira [George’s daughter, who now leads the studio] and the family’s memory at a pivotal point in the studio’s history speaks even further to the history with the Frosh family, and to why George chose a special table for Stanley Frosh. We have the climax point where George dies, and they talk about the studio’s future [around this table.] It could not only set a record for a Sanso table, it could set a record for any George Nakashima.”

What else makes this Nakashima furniture special? “If you’ve been waiting for a special piece by Nakashima, this is that type of piece. It will transcend market shifts over the years,” he says. “And you can look at it time after time and not get bored. I’ve been looking at it for four months and every time, I find something new. You get chills standing near it. A Nakashima like this belongs in a museum or a private collection. One lucky bidder will get to own this table, and I envy them.”

How to bid: The George Nakashima Frosh family Sanso table and its six Conoid chairs are lot 81 in the Design sale at Freeman’s on October 8, 2017.

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.

Freeman’s is on Twitter and Instagram as well. Also, you can read a short article on the Frosh family table and chairs set on the Freeman’s site.

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

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

 

RECORD: Elizabeth Catlett’s War Worker Sells for $149,000 at Swann–An Auction Record for a Catlett Painting

M36096-5 001

Update: Elizabeth Catlett’s War Worker sold for $149,000–a new auction record for a painting by the artist.

What you see: War Worker, a 1943 tempera-on-board by Elizabeth Catlett. Swann Auction Galleries estimates it at $60,000 to $90,000.

Who was Elizabeth Catlett? She was a 20th century African-American artist. She was best known for her sculptures, but she made prints and the occasional painting as well. She devoted herself to creating images that reflected the African-American experience. During the 1960s, she created a series of posters that depicted Malcolm X, Angela Davis, and Harriet Tubman. She also created sculptures of Sojourner Truth and Louis Armstrong. She was active until she died in 2012 at the age of 96.

What makes War Worker so notable? “It’s very scarce. It’s only the second painting of hers to come to auction,” says Nigel Freeman, director of Swann’s African-American fine art department, adding that it dates to a period in the 1940s when the artist lived in New York. Swann offered the first Catlett painting at auction in December 2015. Titled Friends, it sold for $81,250 against an estimate of $30,000 to $40,000.

Why have so few of these paintings come to auction? Are they in institutions? “The works are just very scarce. They’ve been in people’s collections for a generation or more,” he says, adding that Friends did go to an institutional buyer. “Catlett passed not too long ago. There’s a growing sense of her significance that’s bringing the paintings to market. If you look at Friends, it’s definitely related to War Worker. Both are images of African-American workers.”

War Worker is smaller than 12 inches by 10 inches. Most of the known 1940s paintings are on the small side, and rendered in tempera. Do we know why? “She didn’t have a studio in the traditional sense. She had to work during the day at her teaching job,” he says, explaining his theory that Catlett may have made War Worker in her apartment, sitting down, perhaps with the paper in her lap. She might have chosen tempera for this reason, too–it doesn’t smell or give off fumes, as oil paints do. “It’s conducive to working in a non-studio environment,” he says. “The small size reinforces the intimacy of these works.”

Does Catlett approach the painting in a sculptural way? Does it hint at her future as a sculptor? “It’s a fascinating glimpse into her work as a modern artist,” he says. “She shows an interest in depicting average working men and women as a social realist. She’s also interested in abstracting the sculptural qualities of his face, flattening the forms. There’s a sculptural quality you see that comes forward in her work, which is interesting in view of her development as an artist.”

War Worker is estimated at $60,000 to $90,000. Do you think it has a chance to top Friends and set a new record for a Catlett painting at auction? “I think this will do very well, and could sell for more,” he says.

What else makes War Worker special? “It’s a really powerful image. These small paintings pack a punch,” Freeman says. “The accumulation of small strokes gives it an intensity. I think it’s going to resonate with the people who see it. We are excited to have it.”

How to bid: War Worker is lot 20 in the African-American Fine Art sale at Swann Auction Galleries on October 5.

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.

You can follow Swann Auction Galleries on Twitter and Instagram.

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! The First Published Account of a Successful Wright Brothers Flight Commands $5,000 at Swann

M35750-3_1 001

What you see: The cover of the January 1, 1905 issue of Gleanings in Bee Culture, from an early 20th-century group of 14 issues of the specialist magazine. Swann estimates the group at $1,500 to $2,500.

What is Gleanings in Bee Culture, and why is it important? It is a specialist magazine, founded in 1869 by Amos Ives Root, a god of the beekeeping world. It published the first eyewitness account of a successful airplane flight by the Wright brothers. Root died in 1923, but his magazine still publishes under the name Bee Culture.

Wait, back up. The first published account of a successful airplane flight was in a beekeeping journal? Yes. Yes, it was.

How did that happen? Root was a fan of technology, and the Wright brothers’ experiments in aviation represented the cutting edge of technology at the turn of the 20th century. Root befriended the brothers, who were fellow Ohioans, and he witnessed a successful flight in September, 1904 at Huffman Prairie in Ohio (he was not present for the first successful flight, which happened on December 17, 1903). Protective of their invention and stung by a badly garbled press account of a previous test, the brothers did not invite any reporters to watch them work. But they were comfortable with Root writing about the first flight for Our Homes, a column he included in Gleanings in Bee Culture. “They probably recognized Root as a kindred spirit, and felt he wouldn’t leak anything they didn’t want leaked,” says Rick Stattler, director of printed and manuscript Americana for Swann.

How skilled an observer was Root? “He was an extremely curious and interested amateur. He did his best to understand the mechanism and asked a bunch of questions,” says Stattler, who adds that Root was 65 at the time of the September 1904 flight. “He understood about five percent of what they said. My impression is he probably understood it better than I’d have been able to.”

How many times did Root write about the flight that he saw? Twice. The first article ran more than three pages and had no illustrations. The second, which appeared two weeks later, was shorter and included a photograph of a Wright plane without its engine. “I suspect they didn’t want him publishing a picture of the full machine,” Stattler says. “I don’t get the impression that his account was instantly recognized as important around the world. Gleanings in Bee Culture had a very small, specialized readership. I get the impression that it was not taken especially seriously.”

How often do these issues of Gleanings in Bee Culture come up at auction? This offering at Swann is the first. Stattler reports that Sotheby’s offered a group of issues in 1968, but it did not include the columns that describe the flight.

Why offer 14 issues? Why not offer just the ones with the columns that talk about the flight? Stattler explains that the issues come from a home that had several years’ worth of Gleanings in Bee Culture squirreled away.  “I thought it would be interesting to have a few issues from before the columns and after, as context,” he says. Stattler describes the Our Homes column as being an Andy Rooney-style celebration of the quirks of the world, but Root definitely realized he’d seen something world-changing. “He strongly emphasized it. He realized he was privileged to witness an extremely important event, and he recognized that his platform was not the typical for disseminating that information.”

Do you have any favorite passages from the columns? Stattler cited this paragraph from the January 1, 1905 entry:  ‘Imagine a locomotive that has left its track, and is climbing up in the air right toward you—a locomotive without any wheels, we will say, but with white wings instead, we will further say—a locomotive made of aluminum. Well, now, imagine this white locomotive, with wings that spread 20 feet each way, coming right toward you with a tremendous flap of its propellers, and you will have something like what I saw. The younger brother bade me move to one side for fear it might come down suddenly; but I tell you, friends, the sensation that one feels in such a crisis is something hard to describe.’

These issues have never come to auction before, so they’re guaranteed to set a record when they sell. What do you think will happen? “I’ve got interest from clients already,” he says. “It’s such a quirky publication. It will probably go beyond its estimate, but how far beyond, I don’t know.”

How to bid: The group of issues of Gleanings in Bee Culture is lot 42 in the Printed & Manuscript Americana sale at Swann Auction Galleries on September 28, 2017.

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.

You can follow Swann Auction Galleries on Twitter and Instagram. Bee Culture is on Twitter and Instagram as well. Root Candles, another entity founded by Root that survives to this day, devotes a page on its website to Ames Root and the Wright Brothers. And you can read the full text of all of Root’s writings on the Wright brothers’ flight courtesy of the website for the PBS program NOVA.

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.