1920
See also : Russia Women artists Furniture 20th century furniture Art Deco Chairs and seats Picasso 1907-1931 Léger Sport uniform Baseball Babe Ruth Baseball jersey
1920-1922 The Black and the Red
2015 SOLD for $ 38M including premium
In 1915 the Suprematism of Kazimir Malevich shakes forever the theories of art. To be pure, art should excite feelings without referring to a message. It is neither figurative nor religious nor political.
Malevich developed a new grammar reduced to three basic filled shapes, simple enough to escape a semiotic interpretation : rectangle, oval and cross. The perfect rectangle and oval are the square and the circle.
The black square on white is the seminal flagship and the masterpiece of Suprematism. Centered on a canvas where it fills most of the available surface, the square becomes a flying artefact independently from its supporting fabric and generates a mesmerizing feeling. Faced with such a spatial illusion, we are tempted to reduce the famous white square on white from 1918 down to no more than an additional experiment.
In the early phase, other works by Malevich still make concessions to competing movements. His cohorts of stripes more or less parallel in various colors seek to express the movement as in the Futurism in an assembly which appears hand made as in the Synthetic Cubism or in the Constructivism.
On November 5 in New York, Sotheby's sells Mystic Suprematism, oil on canvas 100 x 59 cm painted between 1920 and 1922, lot 8 estimated $ 35M.
A black cross is flying in front of a deep red oval. The pole of the cross and the oval are coaxial. The pole is a quadrangle that slightly tapers downward, bringing an effect of forward tilting. The additional small black line that runs across the lower part of the pole is used for balancing, allowing the viewer to decide if that indefinable abstract object is or not about to fall.
Suprematism is already announcing the major trends of abstract art of the second half of its century, which will use the expressive role of the colors. It is unfortunate that Malevich did not experience the importance of large size. To go further than Suprematism, wait for Rothko.
Malevich developed a new grammar reduced to three basic filled shapes, simple enough to escape a semiotic interpretation : rectangle, oval and cross. The perfect rectangle and oval are the square and the circle.
The black square on white is the seminal flagship and the masterpiece of Suprematism. Centered on a canvas where it fills most of the available surface, the square becomes a flying artefact independently from its supporting fabric and generates a mesmerizing feeling. Faced with such a spatial illusion, we are tempted to reduce the famous white square on white from 1918 down to no more than an additional experiment.
In the early phase, other works by Malevich still make concessions to competing movements. His cohorts of stripes more or less parallel in various colors seek to express the movement as in the Futurism in an assembly which appears hand made as in the Synthetic Cubism or in the Constructivism.
On November 5 in New York, Sotheby's sells Mystic Suprematism, oil on canvas 100 x 59 cm painted between 1920 and 1922, lot 8 estimated $ 35M.
A black cross is flying in front of a deep red oval. The pole of the cross and the oval are coaxial. The pole is a quadrangle that slightly tapers downward, bringing an effect of forward tilting. The additional small black line that runs across the lower part of the pole is used for balancing, allowing the viewer to decide if that indefinable abstract object is or not about to fall.
Suprematism is already announcing the major trends of abstract art of the second half of its century, which will use the expressive role of the colors. It is unfortunate that Malevich did not experience the importance of large size. To go further than Suprematism, wait for Rothko.
Kazimir Malevich’s “Mystic Suprematism” represents the artist at his most radical and powerful http://t.co/ZVK8UCMZxo pic.twitter.com/9iGywjP92q
— Sotheby's (@Sothebys) September 18, 2015
1920 The Two Pictures of Olga
2017 SOLD for $ 30.5M including premium
Times are hard. Pablo Picasso had provided a formidable boost to modern art with the Demoiselles and then with the analytical Cubism using or imitating collages. Competitors follow with enthusiasm but customers are rare for this art that is too intellectual, especially in that period of war. A return to classicism becomes vital but Picasso can not get rid of his avant-garde ambition.
Around 1916 he attempts a new approach by simplifying the geometric shapes and by reducing the number of elements. The readability remains difficult except perhaps in the still life. To convince his audience Picasso indeed needs to convince himself.
He realizes two portraits of Olga in the same format, based on the same photograph. One of them is realistic in the style of Ingres, the other is Cubist. The artist wants to demonstrate that the impression offered to the viewer by a work of art does not depend on the style.
Zervos considers that both paintings were started simultaneously in 1917. The Ingresque portrait is finished early. The Cubist portrait is continually reworked until 1920. The result is as luminous as a stained glass window with its solid colors enclosed in outlines of white stripes bordered by a black line. The woman maintains an identical attitude on both images.
The use of the Cubist portrait like a piece of laboratory for the development of a new style is at no doubt. Picasso kept this work throughout his life, certainly not in memory of Olga but as a demonstrator of the evolution of his art in that difficult period of his career.
The Cubist portrait, oil on canvas 130 x 89 cm, is estimated $ 20M by Christie's in New York on May 15, lot 7 A offered along with seven other major artworks for the benefit of the Cleveland Clinic Heart and Vascular Institute. Please watch the video in which Christie's introduces the whole set.
Around 1916 he attempts a new approach by simplifying the geometric shapes and by reducing the number of elements. The readability remains difficult except perhaps in the still life. To convince his audience Picasso indeed needs to convince himself.
He realizes two portraits of Olga in the same format, based on the same photograph. One of them is realistic in the style of Ingres, the other is Cubist. The artist wants to demonstrate that the impression offered to the viewer by a work of art does not depend on the style.
Zervos considers that both paintings were started simultaneously in 1917. The Ingresque portrait is finished early. The Cubist portrait is continually reworked until 1920. The result is as luminous as a stained glass window with its solid colors enclosed in outlines of white stripes bordered by a black line. The woman maintains an identical attitude on both images.
The use of the Cubist portrait like a piece of laboratory for the development of a new style is at no doubt. Picasso kept this work throughout his life, certainly not in memory of Olga but as a demonstrator of the evolution of his art in that difficult period of his career.
The Cubist portrait, oil on canvas 130 x 89 cm, is estimated $ 20M by Christie's in New York on May 15, lot 7 A offered along with seven other major artworks for the benefit of the Cleveland Clinic Heart and Vascular Institute. Please watch the video in which Christie's introduces the whole set.
<1920 Yves Saint-Laurent in an Armchair ... made by Eileen Gray
2009 SOLD 21.9 M€ including premium
In the very large sale of the collection of the fashion designer Yves Saint-Laurent, the furniture of the 20th century will be led by an armchair made by Eileen Gray.
It is a seat only 61 cm high. The sitting height is normal, but the back is small. It is large (91 cm), making it a comfortable chair. The press release from Christie's describes it as a Dragon armchair, certainly for the sculptures of its armrests. For this seat dating from about 1920-1922, prepare 2.5 million €.
In the work of Eileen Gray, other seats have generated one of the most remarkable results of auctions in recent years. On June 1, 2005 in Paris, Camard sold a set of six armchairs à la Sirène, for a total of nearly 9 million € charges included. Sold separately, these six lots were eventually divided between two buyers. They had belonged to Damia, the music hall singer woman with whom Eileen had a love affair. From a very different model from the chair of the Saint-Laurent collection, their sculpture of the women fish was enhanced by an open back.
Eileen Gray was renowned for the luxurious finish of her lacquered furniture.
The sale will be held at the Grand Palais in Paris from 23 to 25 February. It is jointly organized by Christie's and Pierre Bergé et Associés.
POST SALE COMMENT
This seat had it all. We imagine it perfectly in the middle of the living room of Yves Saint-Laurent, a famous person. It may equally be regarded as a work of art or as a piece of furniture.
Christie's has presented it as one of the top lots in the sale, from the first press release last September. The estimate probably took into account the results obtained at Drouot on the armchairs à la Sirène, remembered in my article above. Cautiously, the estimate had been made a little lower (2 M €) in the catalog than in the first releases.
As I have already written, the current crisis of confidence affects the sellers, not the buyers.
The chair of Yves Saint-Laurent by Eileen Gray was sold € 21.9 million including premium.
The low resolution image below is shared by Wikimedia for fair use :
It is a seat only 61 cm high. The sitting height is normal, but the back is small. It is large (91 cm), making it a comfortable chair. The press release from Christie's describes it as a Dragon armchair, certainly for the sculptures of its armrests. For this seat dating from about 1920-1922, prepare 2.5 million €.
In the work of Eileen Gray, other seats have generated one of the most remarkable results of auctions in recent years. On June 1, 2005 in Paris, Camard sold a set of six armchairs à la Sirène, for a total of nearly 9 million € charges included. Sold separately, these six lots were eventually divided between two buyers. They had belonged to Damia, the music hall singer woman with whom Eileen had a love affair. From a very different model from the chair of the Saint-Laurent collection, their sculpture of the women fish was enhanced by an open back.
Eileen Gray was renowned for the luxurious finish of her lacquered furniture.
The sale will be held at the Grand Palais in Paris from 23 to 25 February. It is jointly organized by Christie's and Pierre Bergé et Associés.
POST SALE COMMENT
This seat had it all. We imagine it perfectly in the middle of the living room of Yves Saint-Laurent, a famous person. It may equally be regarded as a work of art or as a piece of furniture.
Christie's has presented it as one of the top lots in the sale, from the first press release last September. The estimate probably took into account the results obtained at Drouot on the armchairs à la Sirène, remembered in my article above. Cautiously, the estimate had been made a little lower (2 M €) in the catalog than in the first releases.
As I have already written, the current crisis of confidence affects the sellers, not the buyers.
The chair of Yves Saint-Laurent by Eileen Gray was sold € 21.9 million including premium.
The low resolution image below is shared by Wikimedia for fair use :
1920 Ja Was? Bild by Schwitters
2014 SOLD for £ 14M by Sotheby's
The art of Kurt Schwitters is a direct consequence of the horrors of war. Along with Arp, he understands that the world has changed and that only a completely new vision may accompany the necessary rebirth.
Technically, Schwitters is very close to the Dada movement in which he had friends. In that defeated Germany promised to decadence, he built his art with fragments of everyday found objects nailed and glued on wood such as torn newspapers, posters, papier mâché, leather. However, he opted for a positive message that is the opposite of the Dada destruction. Unsurprisingly, Schwitters was later persecuted by the Nazis chasing the decadent art.
His creed is summed up in a few cleverly chosen statements.
Pioneer of installations nearly half a century ahead of his time, he introduces himself to his colleagues as a painter who nails his pictures together.
He promotes his Merz revolution, a word that appeared perhaps by chance in one of his works after he tore a paper of the Kommerz und Privatbank. Merz is in only four letters a remarkable anticapitalist and anti-industrial motto.
On June 24, 2014, Christie's sold for £ 14M from a lower estimate of £ 4M a 1920 Merzbild in large size, 109 x 80 cm including the artist's frame. Positively titled Ja Was? Bild, it anticipates the paintings-poems by Miro. The reverse side covered by newspaper fragments must be considered as a full part of the Bild.
Please watch the video shared by the auction house.
Technically, Schwitters is very close to the Dada movement in which he had friends. In that defeated Germany promised to decadence, he built his art with fragments of everyday found objects nailed and glued on wood such as torn newspapers, posters, papier mâché, leather. However, he opted for a positive message that is the opposite of the Dada destruction. Unsurprisingly, Schwitters was later persecuted by the Nazis chasing the decadent art.
His creed is summed up in a few cleverly chosen statements.
Pioneer of installations nearly half a century ahead of his time, he introduces himself to his colleagues as a painter who nails his pictures together.
He promotes his Merz revolution, a word that appeared perhaps by chance in one of his works after he tore a paper of the Kommerz und Privatbank. Merz is in only four letters a remarkable anticapitalist and anti-industrial motto.
On June 24, 2014, Christie's sold for £ 14M from a lower estimate of £ 4M a 1920 Merzbild in large size, 109 x 80 cm including the artist's frame. Positively titled Ja Was? Bild, it anticipates the paintings-poems by Miro. The reverse side covered by newspaper fragments must be considered as a full part of the Bild.
Please watch the video shared by the auction house.
1920 Flowers and Fruits by Qi Baishi
2022 SOLD for HK$ 79M by Sotheby's
Qi Baishi settled in Beijing in 1917, aged 53. His art based on his travels and on his observation of nature reached a new maturity, encouraged by his mentor Wu Changshuo. A Ming predecessor was Xu Wei.
Keen to protect his art, Qi was remaining away from politics, but he also managed to have republican leaders as patrons.
He dedicated in 1920 a set of four 180 cm high panels for Rong Ming, also known as Hu Egong, on the theme of flowers. Soon afterward he dedicated a set of flowers and fruits to a Mr Zhongshan who was to be from 1923 to 1924 as Cao Kun the President of the Republic of China.
That latter set is made of four hanging scrolls in ink and color on paper 284 x 64 cm each. They had possibly constituted a set of eight with a set of four with other plants, currently kept at the Boston Museum of Art. This monumental size may be compared with the 1925 set of twelve landscapes 180 x 47 cm each sold for RMB 925M by Poly in 2017.
The four panels respectively display Peaches, Loquats with plantain lilies, Pomegranates with plumed cockscombs and Grapes, each panel with a critical statement. In the Chinese tradition, these elements symbolize abundance, longevity and family wealth. Qi's unprecedented style is a dense composition in free brushwork and bright colors that nearly fills the whole surface of the paper.
Flowers and fruits was sold for HK $ 79M from a lower estimate of HK $ 18M by Sotheby's on October 8, 2022, lot 9.
Keen to protect his art, Qi was remaining away from politics, but he also managed to have republican leaders as patrons.
He dedicated in 1920 a set of four 180 cm high panels for Rong Ming, also known as Hu Egong, on the theme of flowers. Soon afterward he dedicated a set of flowers and fruits to a Mr Zhongshan who was to be from 1923 to 1924 as Cao Kun the President of the Republic of China.
That latter set is made of four hanging scrolls in ink and color on paper 284 x 64 cm each. They had possibly constituted a set of eight with a set of four with other plants, currently kept at the Boston Museum of Art. This monumental size may be compared with the 1925 set of twelve landscapes 180 x 47 cm each sold for RMB 925M by Poly in 2017.
The four panels respectively display Peaches, Loquats with plantain lilies, Pomegranates with plumed cockscombs and Grapes, each panel with a critical statement. In the Chinese tradition, these elements symbolize abundance, longevity and family wealth. Qi's unprecedented style is a dense composition in free brushwork and bright colors that nearly fills the whole surface of the paper.
Flowers and fruits was sold for HK $ 79M from a lower estimate of HK $ 18M by Sotheby's on October 8, 2022, lot 9.
1920 LEGER
1
Les Femmes à la Toilette
2008 SOLD for $ 10.1M by Christie's
After the war Fernand Léger restarts in pure colors his avant-garde creativity. Cubism begins to become out of fashion due to the difficulty of interpretation of its images by the public. His mechanistic phase is a response still imbued with cubism to the craze of the Futurists for the machines.
The human figure returns into his art. His world is now flat : the juxtaposition of mingled figurative forms creates the emotion. In 1920 a series of eight paintings on the theme of the woman seated at the toilette table and looking at herself in the mirror starts that anti-Cubist period of one of the former Cubist pioneers. The Purisme developed in 1918 by Ozenfant and Jeanneret also known as Le Corbusier is a similar rejection of the Cubism.
The first five are titled Femme au miroir. The next two are Les Femmes à la toilette, and the last is a singular Femme à la toilette. The forms made of pictorial elements without femininity are so re-positioned and mingled that counting the characters becomes ineffective.
Les Femmes à la toilette 2ème état, oil on canvas 92 x 73 cm, was sold for $ 10.1M by Christie's on May 6, 2008, lot 37.
The human figure returns into his art. His world is now flat : the juxtaposition of mingled figurative forms creates the emotion. In 1920 a series of eight paintings on the theme of the woman seated at the toilette table and looking at herself in the mirror starts that anti-Cubist period of one of the former Cubist pioneers. The Purisme developed in 1918 by Ozenfant and Jeanneret also known as Le Corbusier is a similar rejection of the Cubism.
The first five are titled Femme au miroir. The next two are Les Femmes à la toilette, and the last is a singular Femme à la toilette. The forms made of pictorial elements without femininity are so re-positioned and mingled that counting the characters becomes ineffective.
Les Femmes à la toilette 2ème état, oil on canvas 92 x 73 cm, was sold for $ 10.1M by Christie's on May 6, 2008, lot 37.
2
Composition
2022 SOLD for £ 6.2M by Christie's
Link to lot 44.
1920 George Bellows in the Crowd
2012 SOLD 7 M$ including premium
George "Geo" Bellows is passionate about his country, America. The favorite theme of his art is the crowd, of which he captures the movement. Being himself an athlete, he is interested in sports, and of course in the crowds of the spectators.
On December 1, 1999, Sotheby's sold Polo Crowd, oil on canvas 115 x 161 cm, painted in 1910. Sold $ 27.5 million including premium, this lot then got the record for an American painting at auction. The buyer, Bill Gates, was identified after the sale.
On May 17 in New York, Sotheby's sells a tennis scene painted in 1920. This oil on canvas, 109 x 135 cm, is estimated $ 5M.
On vacation the previous year in Newport RI, the artist had attended a tournament won by Bill Tilden of which he wanted to recreate the atmosphere. The game of tennis is underway, and the crowd is dense around the players. The style is typical of this artist: almost impressionistic in the clothing of the crowd, realistic up to the border of naivety in the anecdotal part of the scene.
This dynamic and colorful work is a very interesting account of the atmosphere of the early Roaring Twenties.
POST SALE COMMENT
Deserved result for this interesting painting by George Bellows: $ 7M including premium.
The image is shared on Wikiart :
On December 1, 1999, Sotheby's sold Polo Crowd, oil on canvas 115 x 161 cm, painted in 1910. Sold $ 27.5 million including premium, this lot then got the record for an American painting at auction. The buyer, Bill Gates, was identified after the sale.
On May 17 in New York, Sotheby's sells a tennis scene painted in 1920. This oil on canvas, 109 x 135 cm, is estimated $ 5M.
On vacation the previous year in Newport RI, the artist had attended a tournament won by Bill Tilden of which he wanted to recreate the atmosphere. The game of tennis is underway, and the crowd is dense around the players. The style is typical of this artist: almost impressionistic in the clothing of the crowd, realistic up to the border of naivety in the anecdotal part of the scene.
This dynamic and colorful work is a very interesting account of the atmosphere of the early Roaring Twenties.
POST SALE COMMENT
Deserved result for this interesting painting by George Bellows: $ 7M including premium.
The image is shared on Wikiart :
1920-1921 Beaux Arts by Jupeon
2016 SOLD for HK$ 47M including premium
Son of an artist, Xu Beihong is fascinated since childhood by traditional Chinese graphic arts. He learns French in Shanghai and arrives in Paris in 1919 to study at the Ecole Nationale Supérieure des Beaux Arts. He is 24 years old.
In Paris, Xu is one of the first Asian artists and perhaps even the first Chinese artist to practice oil painting. He temporarily abandons the figurative Chinese themes to bring his personal vision of the ancient European painting. At that time his name is spelled Jupeon.
Xu rightly observed that Western mythology provides an excuse to show the nude in erotic positions. On April 3 in Hong Kong, Sotheby's sells a Sleeping Venus, oil on canvas 62 x 95 cm painted in Paris in 1920-1921 and signed in Chinese, lot 1034 estimated HK $ 40M.
The naked woman is lying on the grass in a lascivious attitude reminiscent of female positions by Courbet. The mythological inspiration for this ideal woman is confirmed by two little satyrs emerging away from a grove.
The mythological scenes painted by Xu in his Parisian period are extremely rare on the art market. A slave and lion of large size 123 x 153 cm painted in 1924 was sold for HK $ 54M including premium by Christie's on 26 November 2006. This work anticipates the highly original specialization of the artist after his return to China, using animals for the expression of fiery sentiments.
The female nudes by Xu are also very rare and eagerly sought. In June 2010 in Beijing, a small auction house sold for the equivalent of US $ 11.2M the standing nude of a young woman thought to be Jiang Biwei who was Xu's wife in the 1920s. In September 2011, an artist recognized convincingly in this portrait a model who posed in the nude in a classroom in the 1980s.
In Paris, Xu is one of the first Asian artists and perhaps even the first Chinese artist to practice oil painting. He temporarily abandons the figurative Chinese themes to bring his personal vision of the ancient European painting. At that time his name is spelled Jupeon.
Xu rightly observed that Western mythology provides an excuse to show the nude in erotic positions. On April 3 in Hong Kong, Sotheby's sells a Sleeping Venus, oil on canvas 62 x 95 cm painted in Paris in 1920-1921 and signed in Chinese, lot 1034 estimated HK $ 40M.
The naked woman is lying on the grass in a lascivious attitude reminiscent of female positions by Courbet. The mythological inspiration for this ideal woman is confirmed by two little satyrs emerging away from a grove.
The mythological scenes painted by Xu in his Parisian period are extremely rare on the art market. A slave and lion of large size 123 x 153 cm painted in 1924 was sold for HK $ 54M including premium by Christie's on 26 November 2006. This work anticipates the highly original specialization of the artist after his return to China, using animals for the expression of fiery sentiments.
The female nudes by Xu are also very rare and eagerly sought. In June 2010 in Beijing, a small auction house sold for the equivalent of US $ 11.2M the standing nude of a young woman thought to be Jiang Biwei who was Xu's wife in the 1920s. In September 2011, an artist recognized convincingly in this portrait a model who posed in the nude in a classroom in the 1980s.
1920 Cameroon Fang Mabea Figure ex Fénéon
2014 SOLD for € 4.35M by Sothebys
A masterpiece of African tribal art for sale on June 18, 2014 by Sotheby's revives the amazing and eccentric personality of Félix Fénéon.
An anarchist activist who became an effective art critic, Fénéon was the discoverer of Seurat before entering the illusion of the communist ideal with Signac. Refusing social or artistic pre-established solutions, he was one of the first along with Apollinaire to be interested in African art.
In 1920, Fénéon obtains and publishes the opinions of twenty specialists on the topic of relevance or not to consider the primitive arts, named by him Arts Lointains, on the same level as the European masterpieces in the Louvre. This question had a final answer 80 years later when Jacques Kerchache obtained the creation of a specialized section in that Museum.
In 1920, the African standard bearer in Fénéon's collection is a Fang figure 67 cm high of a nude woman in seated position which will also later join the Kerchache collection. Its characteristics differ from other Fang styles by a careful anatomical realism and an active expression. The mouth is open to speak.
It was sculpted after the tribal migrations of the eighteenth century (we do not know exactly when) in a very tiny Fang subgroup, the Mabea of Cameroon, whose artistic output is extremely rare. Only a dozen of their ancestor figures are known. The Fénéon-Kerchache specimen is the last in private hands.
It was sold for € 4.35M from a lower estimate of € 2.5 M. Please watch the video shared by Sotheby's :
An anarchist activist who became an effective art critic, Fénéon was the discoverer of Seurat before entering the illusion of the communist ideal with Signac. Refusing social or artistic pre-established solutions, he was one of the first along with Apollinaire to be interested in African art.
In 1920, Fénéon obtains and publishes the opinions of twenty specialists on the topic of relevance or not to consider the primitive arts, named by him Arts Lointains, on the same level as the European masterpieces in the Louvre. This question had a final answer 80 years later when Jacques Kerchache obtained the creation of a specialized section in that Museum.
In 1920, the African standard bearer in Fénéon's collection is a Fang figure 67 cm high of a nude woman in seated position which will also later join the Kerchache collection. Its characteristics differ from other Fang styles by a careful anatomical realism and an active expression. The mouth is open to speak.
It was sculpted after the tribal migrations of the eighteenth century (we do not know exactly when) in a very tiny Fang subgroup, the Mabea of Cameroon, whose artistic output is extremely rare. Only a dozen of their ancestor figures are known. The Fénéon-Kerchache specimen is the last in private hands.
It was sold for € 4.35M from a lower estimate of € 2.5 M. Please watch the video shared by Sotheby's :
1920 Babe Ruth Road Jersey
2012 SOLD for $ 4.4M by SCP
The jerseys worn by baseball champions in the 1920s are extremely rare at auction. Some have been kept for many decades by their families as a mere memory.
The players used two jerseys, a home jersey for the games on their field and a road jersey for trips. A jersey could be used throughout one season or more, which further increases their rarity.
Compared to the next period, documents allowing photo-matching are scarce. The experts thus pay the greatest attention to the details of making which allow an identification of the year or a range of years, rather than on the shears in the textile or on misalignments in the inscriptions.
On May 19, 2012, SCP Auctions sold for $ 4.4M a game worn jersey of Babe Ruth. A photo of the champion made in March 1920 shows him with a jersey identical as this example.
This road jersey had been exhibited for many years at the Babe Ruth Birthplace Museum in Baltimore. Its New York Yankees front marking is dated circa 1920. The maker was Spalding.
In very good condition, it retains its original identification with the name of Ruth.
The players used two jerseys, a home jersey for the games on their field and a road jersey for trips. A jersey could be used throughout one season or more, which further increases their rarity.
Compared to the next period, documents allowing photo-matching are scarce. The experts thus pay the greatest attention to the details of making which allow an identification of the year or a range of years, rather than on the shears in the textile or on misalignments in the inscriptions.
On May 19, 2012, SCP Auctions sold for $ 4.4M a game worn jersey of Babe Ruth. A photo of the champion made in March 1920 shows him with a jersey identical as this example.
This road jersey had been exhibited for many years at the Babe Ruth Birthplace Museum in Baltimore. Its New York Yankees front marking is dated circa 1920. The maker was Spalding.
In very good condition, it retains its original identification with the name of Ruth.
BABE RUTH BIRTHDAY: Today on January 6 1895 the greatest player to play the game of Baseball was born. Here is the best piece of Ruthian memorabilia sold by @SCPAuctions for $4,415,658 World record for a piece of sports memorabilia #Baberuth @baseballhall @Yankees @MLB #MLB pic.twitter.com/Z5BL5bA2DF
— SCP Auctions (@SCPAuctions) February 6, 2018
