Leonardo da Vinci, as seen in a chalk self-portrait created circa 1512-1515. Courtesy Royal Library, Turin.
TORONTO (AP) – Mona Lisa has something new to smile about.
A portrait of a young woman thought to be created by a 19th century German artist and sold two years ago for about $19,000 is now being attributed by art experts to Leonardo da Vinci and valued at more than $150 million.
The unsigned chalk, ink and pencil drawing, known as La Bella Principessa, was matched to Leonardo via a technique more suited to a crime lab than an art studio – a fingerprint and palm print found on the 13 1/2-inch-by-10-inch (34 centimeters by 25 centimeters) work.
Peter Paul Biro, a Montreal-based forensic art expert, said the print of an index or middle finger matched a fingerprint found on Leonardo’s St. Jerome in the Vatican.
Technical, stylistic and material composition evidence – including carbon dating – had art experts believing as early as last year that they had found another work by the creator of the Mona Lisa.
The discovery of the fingerprint has them convinced the work was by Leonardo, whose myth and mystery already put him at the center of such best-sellers as The Da Vinci Code and The Lost Symbol.
Biro examined multispectral images of the drawing taken by the Luminere Technology laboratory in Paris, which used a special digital scanner to show successive layers of the work.
“Leonardo used his hands liberally and frequently as part of his painting technique. His fingerprints are found on many of his works,” Biro said. “I was able to make use of multispectral images to make a little smudge a very readable fingerprint.”
Alessandro Vezzosi, director of a museum dedicated to Leonardo in the artist’s hometown of Vinci, Italy, said Wednesday he was “very happy” to hear about the fingerprint analysis, saying it confirmed his own conclusion that the portrait can be attributed to Leonardo with “reasonable certainty.”
“For me, it’s extraordinary there is confirmation” through the fingerprint, although “it’s not like I had any doubt,” he said in a telephone interview with The Associated Press.
Even before the fingerprint discovery, Vezzosi said several experts agreed with his conclusion, which was based on “historical, artistic, stylistic (and) aesthetic” considerations.
Based on its style, the portrait has been dated to 1485-1490, placing it at a time when Leonardo (1452-1519) was living in Milan.
Canadian-born art collector Peter Silverman bought La Bella Principessa – or The Beautiful Princess – at the gallery in New York on behalf of an anonymous Swiss collector in 2007 for about $19,000. New York art dealer Kate Ganz had owned it for about nine years after buying it at auction for a similar price.
One London art dealer now says it could be worth more than $150 million.
If experts are correct, it will be the first major work by Leonardo to be identified in 100 years.
Ganz still doesn’t believe it is a Leonardo.
“Nothing that I have seen or read in the past two years has changed my mind. I do not believe that this drawing is by Leonardo da Vinci,” Ganz told the AP on Wednesday. She declined to comment further.
Silverman said he didn’t expect Ganz to acknowledge it’s a Leonardo because that would damage her credibility, adding that if she wants to “go against science and say the Earth is not round,” then that’s her prerogative. “Thank God, we have the fingerprint because there will still be those doubting Thomases out there saying it couldn’t possibly be and giving all sorts of reasons for it. We not only have a fingerprint, but a palm print.”
He said the palm print was found in the neck of the portrait’s subject, who is believed to be the daughter of a 15th century Milanese duke.
Biro said the two main ideas to emerge from the news are the discovery of “an important lost work by Leonardo,” and how “science, technology, scholars and art historians are learning to work together to solve these incredibly complex puzzles.”
Silverman said the Swiss collector first raised suspicions about the drawing, saying it didn’t look like 19th century artwork. When Silverman saw it at the Ganz gallery in 2007, he thought it might be a Leonardo, although the idea seemed far-fetched. He hurriedly bought it for his Swiss friend and then started researching it.
“Of course, you say, ‘Come on, that’s ridiculous. There’s no such thing as a da Vinci floating around,”’ Silverman said. “I started looking in the areas around da Vinci and all the people who could have possibly done it and through elimination I came back to da Vinci.”
Last year, Silverman asked Nicholas Turner, a former curator of drawings at the J. Paul Getty Museum and the British Museum. Turner said it was a Leonardo.
Silverman described the Swiss collector as a very rich man who has promised to buy him “lunch and dinner and caviar for the rest of my life if it ever does get sold.”
Vezzosi said the portrait seemed to be of a prospective bride and compared its purpose to today’s photos of clients of Internet matchmaking agencies.
As for the possibility of finding other Leonardo works, “there are thousands of lost works of Leonardo, mainly pages from codexes or drawings,” Vezzosi said, but discovering a lost or undocumented painting would be “much more difficult.”
___
Associated Press writer Frances D’Emilio in Rome contributed to this report.
Copyright 2009 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Ladies estate ring, 18K gold with 5.5 carats of diamonds, est. $30,000-$50,000. Image courtesy Austin Auction Gallery.
AUSTIN, Texas – Austin Auction Gallery will host a two-day Estates Auction on Oct. 24-25, 2009. The auction is an eclectic mix of fine jewelry, religious art and artifacts; Spanish and French antique furniture, modern furniture and fine art. Internet live bidding will be provided by www.LiveAuctioneers.com.
Day one is highlighted by a fine group of early Texas art by artists such as Edna Earl Crocker (Texas 1877-1942), Milbe Benge (California/Texas, b. 1948), and Walton Leader (Morris Walton Leader, Texas, 1877-1966).
Collectibles to be offered include a large collection of Waterford cut crystal stem and barware, Louis Vuitton handbags and luggage, signed Native-American turquoise and silver jewelry, Joan Slifka sterling jewelry, a German stein collection with scarce figural Mettlach gnome steins and regimental lithophane steins, artesian Mackenzie-Childs furniture and glassware; and antique and modern furniture. The auction is set to begin at 5 p.m. CST/6 p.m. EST.
Day two kicks off at 1 p.m. CST/2 p.m. EST and is led by a diverse collection of religious art and artifacts including 19th-century Spanish Madonna figures in period costume, an 18th-century “Cordero Mistico” lamb figure, 19th- and 20th-century retablos, 18th- to 20th-century statues and figures, antique Spanish Colonial-style paintings, life-size French angels on giltwood bases, and an ivory Madonna.
The Decorative Arts category features an estate grouping of Bohemian glass, Odiot sterling silver flatware designed by Emile Puiforcat, Hispano Moresque Revival chargers, and folk carved deer heads with antler mounts.
Antique and modern furniture to include 18th- and 19th-century Spanish Baroque tables, armoires, and cabinets, giltwood consoles, French furniture, Napoleon III boulle cabinets, mirrors, and a Frank Lloyd Wright/Heritage Henredon “Taliesen” furniture grouping.
A large selection of estate jewelry in gold and platinum with rings up to 6.25 carats will be offered. Highlights include Baume & Mercier, and Cartier 18K gold watches, diamond bracelets and rings, a 22.37-carat star ruby Cabochon, gents’ diamond rings, a vintage ladies 18K yellow gold bracelet weighing 91 grams, and much more.
For additional information on any lot in the sale, please call 512-258-5479. View the fully illustrated catalog and sign up to bid absentee or live via the Internet at www.LiveAuctioneers.com.
GAINESVILLE, Mo. – The Ancient Coin Collectors Guild (ACCG) has announced its second annual benefit auction raised in excess of $32,000 to support ACCG operations, primarily the guild’s legal fund.
The ACCG is presently engaged in a Freedom of Information Act (FOIA) lawsuit against the U.S. State Department in an effort to penetrate what the group described as the department’s “widely recognized and longstanding wall of secrecy regarding cultural property issues.” It seeks the release of information withheld from collectors in multiple FOIA requests. On another front, the guild is contesting import restrictions on ancient coins from Cyprus and China.
VAuctions.com donated the Internet sale venue this year, with photography and cataloging donated by the firm of Sayles and Lavender, and fulfillment/shipping contributed by Mary Lavender. Some 40 private collectors, dealers and friends of the ACCG, donated 197 auction lots, which consisted of ancient coins, books and $100 gift cards.
While some lots achieved more than their presale estimates, the spirit of the auction was best expressed by the sales of gift cards which all went for more than their face value. Particularly ironic was the sale of a silver coin of Ptolemy XII of Egypt (80- 58 BC). The coin is identical in the design and inscription to coins minted in Cyprus, which are controlled by U.S. import restrictions being fought by the ACCG. The coin even includes the mintmark for Paphos in Cyprus. However, this particular coin was actually minted in
Alexandria, Egypt and can only be distinguished from the Cypriot versions by subtle stylistic differences understood only by experienced numismatists. There are no import restrictions on Egyptian coins.
Court filings related to the FOIA lawsuit, launched in concert with the International Association of Professional Numismatists (IAPN) and the Professional Numismatists Guild (PNG), have been released by the ACCG and can be accessed at: http://www.accg.us/issues/news/accg-releases-files-in-foia-lawsuit.
This suit is currently before a federal judge and awaiting a decision.
The ACCG said it will conduct its third annual benefit auction in 2010. For additional information contact Wayne G. Sayles at 417-679-2142.
The 18-inch reverse-painted shade on this table lamp is signed ‘Handel 6688 NI’ (artist’s initials). The lamp has a $10,000-$15,000 estimate. Image courtesy DuMouchelles.DETROIT – Garfield Wood is to powerboating in Michigan as Henry Ford is to automaking. DuMouchelles will launch their Oct. 16-18 auction with a classic 1940 mahogany Gar Wood Vacationer powerboat followed by a lot of Gar Wood memorabilia including the boat builder’s canvas racing helmet. LiveAuctioneers.com will provide Internet live bidding. The auction will begin Friday at 5:30 p.m. Eastern.
Minnesota native Gar Wood began making and racing boats in the 1920s. His sleek boats of varnished mahogany were in such high demand that in 1930 – just three months after the Stock Market Crash – Wood built a factory in Marysville, Mich. It had the capacity to build 1,200 custom quality boats a year. In 1939 the factory was at full capacity.
Wood retired to Miami, Fla., in 1941. The company closed in 1947.
Today Gar Wood boats are among the most sought-after classic boats in the world. The 21-foot Vacationer utility powerboat in DuMouchelles’ auction represents the pinnacle of the Gar Wood output. It is equipped with the factory-installed Chrysler Ace 6 inboard engine. It comes with assorted documentation as to previous owners, sales brochures, boat show award plaques, and registration and production verification certificate from the Gar Wood Society. The boat with trailer has a $15,000-$20,000 estimate.
Wood’s racing helmet is accompanied by a letter written by Wood and a cover of the Detroit Yacht Club magazine dated June 1971 commemorating the boat builder’s life. The lot has a $300-$500 estimate.
The auction is also highlighted by a painting by Alberto Pasini (1826-1899), regarded as the most important of all the Italian Orientalist painters. Pasini was successful in his homeland and in France, where he spent much of his time after 1851. He traveled extensively in the Middle East and lived for more than two years in Tehran. He took commissions from the ruler of Persia, who appreciated the artist’s realist style. The painting in the auction, Arabian Camp With Arabian Horses, is representative of Pasini’s work. The 21- by 17-inch oil on canvas, which has an $80,000-$120,000 estimate, will sell on Sunday.
Also selling Sunday will be a Paris street scene of Montmartre by Jean Dufy (French, 1888-1964). The 19- by 24-inch oil on canvas painting has a $50,000-$60,000.
Sunday’s session begins at noon Eastern.
Saturday’s sale begins at 11 a.m. Eastern with an early Rookwood Pottery vase decorated with the calla lilies by Matthew Daly followed by signed Handel reverse-painted table lamp.
View the fully illustrated catalog and sign up to bid absentee or live via the Internet during the sale at www.LiveAuctioneers.com.
This Gar Wood 21-foot mahogany Vacationer utility boat was built in 1940 when the factory at Marysville, Mich., was at peak production. The classic powerboat carries a $15,000-$16,000 estimate. Image courtesy DuMouchelles. Jean Dufy (French, 1888-1964) painted this street scene titled ‘Montmartre,’ for the section of Paris. The 19- by 24-inch oil on canvas has a $50,000-$60,000 estimate. Image courtesy DuMouchelles. Italian artist Alberto Pasini traveled extensively in the Middle East to paint scenes like this Arabian camp. The oil on canvas painting, 21 by 17 inches, is estimated to bring $80,000-$120,000 Image courtesy DuMouchelles. Large calla lilies decorate the exterior of this 11 3/4-inch Rookwood Pottery vase signed by Matthew Daly. It has a $2,000-$4,000 estimate. Image courtesy DuMouchelles.
Made in the late 19th century by Jollet & Cie, Paris, this Louis XV-style covered urn stands 18 inches high. It has a $2,000-$4,000 estimate. Image courtesy of Simpson Galleries.HOUSTON – Jerry J. Moore, who died last November, was once known as the shopping center king of Texas and the wealthiest man in Houston. With a net worth estimated to be $500 million, the commercial real estate developer was listed on the Forbes 400 list of the richest people in America 12 times.
In addition to building wealth, Moore and his wife, Jean, who died in 2003, could also shop. They bought the finest European furnishings and art for their French chateau, which they had disassembled stone by stone and shipped to Houston, where it was rebuilt.
With their passing, the vast collection of antiques and art will be sold at Simpson Galleries in Houston on Oct. 18 beginning at 1 p.m. Central. LiveAuctioneers.com will provide Internet live bidding.
“The auction has attracted strong interest from not only our regular customers but also family and friends of the Moores who were familiar with the collection,” said Ray Simpson of Simpson Galleries. “It’s an incredible collection that stands on its own merits.”
Furniture highlights include, a Louis XVI carved and giltwood marble-top console, a Napoleon III gilt bronze mounted tulipwood and mahogany vitrine cabinet and a French Provincial carved chestnut armoire from the first half of the 19th century. Each has a $4,000-$6,000 estimate.
More than 60 European and American paintings will be offered, including Cottages by a River by Fritz Thaulow (Norwegian, 1847-1906) and A Hunting Party by Philips Wouwerman (Haarlem 1619-1668). Both are oil on canvas and have estimates of $20,000-$30,000.
A Steinway & Sons grand piano in the auction was made in Hamburg, Germany, and shipped to Steinway in London on Oct. 31, 1903. The Model B piano has an inlaid satinwood case, which is 84 inches long, 56 inches wide and 39 inches high. It is estimated to sell for $25,000-$30,000.
All All-American items in the auction are a Frederic Remington bronze Bronco Buster statue and a rare antique tiger-maple butler’s desk. The bronze statue of the bucking horse and rider is inscribed “Copyright by Frederic Remington” with Roman bronze works New York Foundry mark, and stamped “No. 182” on the bottom of the base. The bronze is 22 1/2 inches high and 21 inches wide. It has a $30,000-$50,000 estimate.
The stately butler’s desk, crafted in Boston circa 1810-1820, is accented with inlaid frieze and features a fall-front escritoire drawer opening to a fitted compartment with drawers and pigeonholes. It is 42 inches high, 59 inches wide and 22 inches deep, and estimated at $8,000-$10,000.
For details call 800-524-0022.
View the fully illustrated catalog and sign up to bid absentee or live via the Internet during the sale at www.LiveAuctioneers.com.
Paris clockmaker Henry Dasson made this Louis XVI-style horloge à rouleau in 1877. The roller has Roman hour chapters and Arabic minute chapters. Made of patinated bronze and with marble, the device has a $3,000-$5,000 estimate. Image courtesy of Simpson Galleries. The Moores’ chateau housed this 1903 Steinway grand piano. The instrument is estimated at $25,000-$30,000. Image courtesy of Simpson Galleries. Johann Berthelsen (American, 1883-1972) painted ‘Trinity Church from Wall Street.’ Oil on artist board, the painting is 16 by 12 inches and has a $6,000-$8,000 estimate. Image courtesy of Simpson Galleries. The movement on this Napoleon III figural mantel clock is stamped ‘Popon à Paris.’ It measures 23 inches high, 31 1/2 inches, wide and 10 1/2 inches deep. It has a $4,000-$6,000 estimate. Image courtesy of Simpson Galleries.
Though Emile-Jacques Ruhlmann may be the father of French Art Deco, the name of another patriarchal designer, Jules Leleu, is also well known, as detailed in a 480-page monograph titled The House of Leleu: Classic French Style for a Modern World, 1920-1973, by Francoise Sirex.
A Jules Leleu circa-1926 fine burled-wood desk with ivory detailing and inset leather top from Maison Gerard. Image courtesy Maison Gerard, New York.
The author had worked for Leleu and, using a rented van, rescued the company’s archives when it closed in 1973.
Maison Gerard, an influential New York design gallery founded in the 1970s by Gerard Widdershoven, has been a leader in reviving the Leleu name.
“From fairly early on, the House of Leleu was not one person,” said Benoist Drut, a partner in the firm, “but an entity headed by Jules Leleu and run by several of his family members including his daughter, Paule, and sons Jean and Andre.” The autocratic Jules was a demanding presence in the business even when his interests turned to painting and sculpting in the 1940s, but he entrusted family members with significant roles, and the House of Leleu outlived him by a little more than a decade. (Jules died in 1961.)
Shown here, a pair of fine and rare walnut bergeres by Jules Leleu, France, circa 1924 from Maison Gerard. The chairs are illustrated in House of Leleu by Francoise Siriex, Hudson Hill Press and in Jules & Andre Leleu by Viviane Jutheau, Editions Vecteurs. Image courtesy Maison Gerard, New York.
Background
Born in 1883 in Boulogne-Sur Mer, France, Jules Leleu took over his family’s painting business in 1909 and with his brother Marcel added a cabinetmaking shop. The brothers were drafted into service in World War I in 1914. When he returned after four years in the air force, Jules focused on furniture making. The House of Leleu eventually became known for lavish private interiors and also for large-scale corporate projects, designing everything from ocean liners to embassies.
French Art Deco, with its purity of line and classical references, arrived on the heels of its flowery, free-flowing predecessor Art Nouveau. Some historians date the beginning of the movement to before the First World War, citing early examples by Ruhlmann and Eileen Gray, while others simply refer to the decade of 1920-1930 when they discuss Art Deco. The title came from the legendary 1925 Exposition Internationales des Arts Decoratifs et Industriels Modernes but it was not used contemporaneously — it’s a relatively recent term.
Psyche, a Jules Leleu amboyna-root cheval mirror with ivory inlays and bronze frame, France, circa 1926, is from Maison Gerard. An identical mirror is illustrated in Le Arti d’oggi, Architettura e arti decorative in Europa by Roberto Panini, 1930. Image courtesy Maison Gerard, New York.
That now-legendary furniture fair, showcasing Jules Leleu, Paul Follot, Emile-Jacques Ruhlmann, Eileen Gray, and Jean Dunand among many others, was a defining moment in the public’s embrace of Art Deco, even though it came somewhat late in the movement’s trajectory. There, Leleu was awarded a prize for one of his furniture designs.
Jules Leleu was known for using superb craftsmanship and expensive materials: “warm” woods like ebony, palissander, and walnut, ivory inlays, and lavish escutcheons and other metalwork embellishments. His earlier designs can look almost indistinguishable from Ruhlmann’s.
Leleu’s private clients were wealthy, and his designs, very costly. Typically the House of Leleu (in the tradition of the decorateur ensemblier) would be commissioned to design all the appointments for an interior: tapestries, lighting fixtures, furniture, rugs, fabrics and metalwork.
World War II changed everything. During the war years, Jules Leleu and his son Jean enlisted in the air force, while other family members, most notably, according to Benoist Drut, Paule Leleu, kept the House of Leleu in operation.
“Paule was concerned that the great craftsmen were being drafted into service and their knowledge would be lost, so she designed some very ornate pieces of furniture as teaching projects – so young apprentices could see their elders using the full range of techniques.”
Post War: Adapting to Change
When the war ended, many great family fortunes had been diminshed substantially. People who might have been Leleu’s clients had suffered dramatic losses. In a fashion characteristic of the House of Leleu throughout its existence, the family adapted. “Without sacrificing any of the superb craftsmanship for which they had become known, the House of Leleu made adjustments,” Drut said.
[/av_textblock]
[av_heading tag=’h3′ padding=’10’ heading=’“In every phase of the House of Leleu’s lifespan, decade by decade, you can see their ability to change with the times.”’ color=’custom-color-heading’ style=’blockquote classic-quote’ custom_font=’#020202′ size=’44’ subheading_active=” subheading_size=’15’ custom_class=”][/av_heading]
[av_textblock size=’16’ font_color=’custom’ color=’#686868′]
Sometimes the choices reflected both stylistic and pragmatic concerns, such as in the appearance of metal legs. They used beka lacquer (a new plastic-based formula related to Bakelite) instead of natural resin-based lacquer. Mother-of-pearl replaced ivory. And less-expensive wood veneers were used,” Drut explained.
Interestingly, those super-ornate pieces designed by Paule during the war found a ready audience among customers made newly rich by war-related commerce, according to Drut.
A circa 1940 amboyna and ebony bed with decorative poppy flower ivory inlay listed as In the “Manner of Jules Leleu,” France, circa 1940. Image courtesy Wright, Chicago.
The Leleus also implemented new ways of selling their designs, creating a “diffusion” line, which, while not cheap, was more affordable than the custom-made pieces that were part of grand prewar interiors projects. Production was still small, with perhaps five to 10 editions of a given design made.
“In every phase of the House of Leleu’s lifespan, decade by decade, you can see their ability to change with the times,” Drut observed.
Benoist Drut believes Ruhlmann, who became terminally ill and died in 1933, would have adapted to changing times in much the same way, even though he was an outspoken snob about using the rarest and most expensive materials and catering only to the very wealthy. In one of Ruhlmann’s last projects, a sport-fishing club he designed in 1932, he demonstrated this willingness to shift by creating simple oak chairs with straw seats.
A Leleu torchiere. Image courtesy Wright, Chicago.
Drut experienced a rare close-up look at Leleu’s work: a Paris apartment whose 1964 interior was designed by the House of Leleu and had been left untouched after the owner, a Mr. Schmitt, died in the 1990s. Tied up in a protracted estate process, the apartment in the 16th arondissement was shrouded in dust and canvas covers when gallerists entered it.
“Mr. Schmitt was a manufacturer of colorants, and the design included some vividly colored finishes to please him,” Drut said. Maison Gerard bought the entire contents, which then comprised a 2008 Leleu exhibition at the gallery.
World War II Japanese silk good luck/prayer flag, 28 inches by 33 inches. Offered as lot 10356 in Affiliated Auctions’ Oct. 24 sale, with Internet bidding through LiveAuctioneers.com. Image courtesy LiveAuctioneers.com.FAYETTEVILLE, N.C. (AP) – A television crew from Japan is searching an eastern North Carolina city for good-luck flags captured during World War II.
The Fayetteville Observer reported that a crew from the NHK Kagoshima Station visited Warpath Military Collectibles in Fayetteville, where several of the flags are for sale or on display.
The good-luck flags have a red circle on a white background and are inscribed with Japanese characters. Members of the soldiers’ families and communities signed the flags wishing them good luck on the battlefield.
The TV crew also wants to talk with veterans or their families who sold the flags to the shop.
A 30-minute documentary will be broadcast on Dec. 8, the 68th anniversary of the U.S. declaration of war against Japan, the day after the Pearl Harbor attack of Dec. 7, 1941.
___
Information from: The Fayetteville Observer, http://www.fayobserver.com
Copyright 2009 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
AP-ES-10-07-09 0809EDT
ADDITIONAL IMAGES OF NOTE
Closeup of section of World War II Japanese silk good luck/prayer flag in Affiliated Auctions’ Oct. 24 sale, with Internet bidding through LiveAuctioneers.com. Image courtesy LiveAuctioneers.com. Closeup of section of World War II Japanese silk good luck/prayer flag in Affiliated Auctions’ Oct. 24 sale, with Internet bidding through LiveAuctioneers.com. Image courtesy LiveAuctioneers.com.
SOUTHEAST, N.Y. (AP) – An archaeologist has found ancient tool fragments and other artifacts at the site of a suburban New York sewer construction project.
The find was made around Peach Lake, in the Putnam County town of Southeast.
Archaeologist Michael Pappalardo says the artifacts also include pottery shards, a 2 1/2-inch blade, tips for arrows or darts; and stone flakes that show tools were made there.
It’s believed the artifacts are about 1,000 years old. They’re being donated to the Southeast Museum in Brewster.
The dig was required by state and federal historic preservation acts.
The sewer system is being built to protect the water quality of the lake and the New York City reservoirs to which it’s connected.
___
Information from: The Journal News, http://www.thejournalnews.com
Copyright 2009 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
An autographed 8- by-10-inch photo of Elvis Presley when he served in the U.S. Army has a $1,500-$2,500 estimate. Image courtesy of Leslie Hindman Auctioneers.CHICAGO – Where would Elvis Presley have been without his waxen raven hair?
A private in the U.S. Army.
A clump of the King’s hair is the most unusual – and perhaps most valuable – piece in the Gary Pepper Collection of Elvis Presley Memorabilia, which will be sold by Leslie Hindman Auctioneers on Oct. 18. The auction begins at noon Central. LiveAuctioneers.com will provide Internet live bidding.
The locks are believed to have been shorn from Elvis’ head when he was inducted into the Army in 1958. The hair was given to Pepper, who was president of a national Elvis Presley fan club.
Early in his career, Presley befriended Pepper, a young man with cerebral palsy, who ultimately became a close friend and the president of one of the King’s first fan clubs. Pepper’s position allowed him to amass a significant collection of personal effects gifted to him from Presley.
According to John Reznikoff, an expert in celebrity hair authentication, “the hair appears to match the hair in my collection [from same U.S. Army haircut] in coarseness and color … this is more than likely a genuine lock of Elvis’ hair.”
Although estimated at $8,000-$12,000, the hair may sell for as much as $100,000, experts say.
An autographed black and white photo of Elvis in uniform will be sold at the auction. It pictures a smiling Sgt. Presley with a photographer in the background. With handwritten inscriptions to Pepper, the photo has $1,500-$2,500 estimate.
An original pastel wedding portrait of Elvis and Priscilla Presley, identical to one that hung in the foyer of Graceland for many years, is another highlight of the 146-lot auction. The portrait is after a photograph of the couple that was included in a limited release LP of Clambake. The painting has an $8,000-$12,000 estimate.
Several articles of Elvis clothing will be sold at the auction. A yellow jersey ensemble is reminiscent of the King’s stage jumpsuits. With a stand-up black collar and bellbottom pants, the suit is expected to sell for $4,000-$6,000. A red ultrasuede shirt that Elvis wore in a publicity photograph for RCA in 1963 has a $2,000-$4,000 estimate.
A portion of the proceeds from the auction will be donated to United Cerebral Palsy of the Mid-South.
For details call 312-280-1212.
View the fully illustrated catalog and sign up to bid absentee or live via the Internet during the sale at www.LiveAuctioneers.com.
Bidding might reach $100,000 for this large clump of hair, believed to be from the head of Elvis Presley. The hair represents the crowning piece of Gary Pepper’s Elvis collection. Image courtesy of Leslie Hindman Auctioneers. Elvis had a penchant for leisurewear like this yellow jersey ensemble. The two-piece outfit is estimated at $4,000-$6,000. Image courtesy of Leslie Hindman Auctioneers. Elvis wore this red ultrasuede shirt in a pinup picture inserted in a 1963 full-color picture folio by RCA. The lot includes five copies of the pictured folio and has a $2,000-$4,000 estimate. Image courtesy of Leslie Hindman Auctioneers. An original pastel wedding portrait of Elvis and Priscilla Presley is after a photograph of the couple. It has an $8,000-$12,000 estimate. Image courtesy of Leslie Hindman Auctioneers.
Whitney Museum of American Art. Photo by Sergio Calleja.
NEW YORK (AP) – The Whitney Museum of American Art plans to built a second museum in New York City.
It would be designed by architect Renzo Piano near the entrance to the High Line. The park was built on an abandoned elevated railway in Manhattan.
Last month, the Whitney signed a contract to buy the city-owned land for $18 million. That’s about half the appraised value – an indication the city wants to attract visitors to the downtown meatpacking district.
It would be twice the size of its building at Madison Avenue and 75th Street.
The museum says it wants to show more of its permanent collection.
Under the deal, it has five years to begin construction.
___
On the Net: www.whitney.org
___
Information from: The New York Times, http://www.nytimes.com
Copyright 2009 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
