1893
Except otherwise stated, all results include the premium.
See also : Cézanne Series by Monet Gauguin Lautrec Pissarro Tabletop Modern furniture
See also : Cézanne Series by Monet Gauguin Lautrec Pissarro Tabletop Modern furniture
masterpiece
1893 The Scream of Nature by Munch
Nationalmuseet Oslo
The Scream by Edvard Munch has every reason to be the most famous image of modern art.
The artist, exalted by the meaning of life, is constantly navigating the limits of a morbid insanity. In 1889, during the Exposition Universelle in Paris, he is fascinated by the intensity of emotions expressed by Van Gogh, Gauguin and Toulouse-Lautrec.
In early 1892, Munch lives his own road to Damascus. He sees the sky ablaze at sunset, like an indomitable force of nature which has invaded the fjord in a terrible explosion of colors. He writes in his notebook a short poem stating that the happening had generated an intense fatigue to him.
No doubt he was mesmerized by this vision for over a year, before daring to translate the memory of his anxiety as a painting and a pastel with a title evocating his inspiration: the Scream of Nature.
The 1893 oil, tempera and pastel on cardboard was the first publicly displayed version.
The image is shared by Wikimedia.
The artist, exalted by the meaning of life, is constantly navigating the limits of a morbid insanity. In 1889, during the Exposition Universelle in Paris, he is fascinated by the intensity of emotions expressed by Van Gogh, Gauguin and Toulouse-Lautrec.
In early 1892, Munch lives his own road to Damascus. He sees the sky ablaze at sunset, like an indomitable force of nature which has invaded the fjord in a terrible explosion of colors. He writes in his notebook a short poem stating that the happening had generated an intense fatigue to him.
No doubt he was mesmerized by this vision for over a year, before daring to translate the memory of his anxiety as a painting and a pastel with a title evocating his inspiration: the Scream of Nature.
The 1893 oil, tempera and pastel on cardboard was the first publicly displayed version.
The image is shared by Wikimedia.
CEZANNE
1
1893-1894 Rideau, Cruchon et Compotier
1999 SOLD for $ 60M by Sotheby's
In 1886 Paul Cézanne inherited from his father. He found comfort in Jas de Bouffan, got married, and began the most experimental phase of his art, which would include the geometric deconstruction of the views of the Montagne Sainte-Victoire and of the still lifes. In his tabletops, he gradually breaks the laws of perspective in order to modify the respective volumes of objects.
Cézanne no longer needs his art to earn a living and does not date his works. The chronology of his still lifes can only be based on the evolution of their complexity. His vision weakened by a diabetes identified in 1890 may have prompted him to seek these new solutions.
He tirelessly changes the position of the same objects, with the same varieties of fruit, seeking the extreme limit of balance. It is only by a very careful inspection that the observer discovers that a dish is not placed on the top of the table but bent over a hidden support.
The crumpled white tablecloth becomes an essential element of the composition, bringing the impression of the imminent fall of the objects and fruits that are placed on it. The arrangements are becoming increasingly complex.
In 1893 or 1894, Cézanne painted two similar compositions, with the same jug and stemcup on the same table, and the same curtain.
Rideau, cruchon et compotier dangerously distributes the fruits in the folds of the tablecloth. The cup, with a spectacular stacking of fruit, is here hidden behind a rise in the tablecloth. All this will fall to the ground in a few moments. The folds of the white tablecloth generate a complex interplay of fruit, the pitcher is the referee and the curtain states that the still lifes of Cézanne are indeed dramas.
This oil on canvas 60 x 73 cm was sold for $ 60M by Sotheby's on May 10, 1999. The image is shared by Wikimedia.
La Corbeille de pommes, oil on canvas 65 x 80 cm kept at the Art Institute of Chicago, illustrates similar conceptions : the lower part of the cup is hidden by some fruit. Here the very tilted position of the basket is partially explained by a thick wedge whose usefulness in real life is questionable.
Cézanne no longer needs his art to earn a living and does not date his works. The chronology of his still lifes can only be based on the evolution of their complexity. His vision weakened by a diabetes identified in 1890 may have prompted him to seek these new solutions.
He tirelessly changes the position of the same objects, with the same varieties of fruit, seeking the extreme limit of balance. It is only by a very careful inspection that the observer discovers that a dish is not placed on the top of the table but bent over a hidden support.
The crumpled white tablecloth becomes an essential element of the composition, bringing the impression of the imminent fall of the objects and fruits that are placed on it. The arrangements are becoming increasingly complex.
In 1893 or 1894, Cézanne painted two similar compositions, with the same jug and stemcup on the same table, and the same curtain.
Rideau, cruchon et compotier dangerously distributes the fruits in the folds of the tablecloth. The cup, with a spectacular stacking of fruit, is here hidden behind a rise in the tablecloth. All this will fall to the ground in a few moments. The folds of the white tablecloth generate a complex interplay of fruit, the pitcher is the referee and the curtain states that the still lifes of Cézanne are indeed dramas.
This oil on canvas 60 x 73 cm was sold for $ 60M by Sotheby's on May 10, 1999. The image is shared by Wikimedia.
La Corbeille de pommes, oil on canvas 65 x 80 cm kept at the Art Institute of Chicago, illustrates similar conceptions : the lower part of the cup is hidden by some fruit. Here the very tilted position of the basket is partially explained by a thick wedge whose usefulness in real life is questionable.
2
1893-1894 Pichet et Fruits sur une Table
2010 SOLD for £ 11.8M by Sotheby's
Executed with the same arrangement, Pichet et fruits sur une table, oil on paper laid down on panel 42 x 72 cm is less dramatic because it does not include the tablecloth.
It was sold for £ 11.8M from a lower estimate of £ 10M by Sotheby's on February 3, 2010, lot 5.
It displays a pitcher and fruit on a bare table. Some of these fruits are on a saucer. On the left, a curtain caresses the table. The visual confusion is brought by the cup whose real position in relation to the table is not discernible because it is half hidden by the pitcher.
It was sold for £ 11.8M from a lower estimate of £ 10M by Sotheby's on February 3, 2010, lot 5.
It displays a pitcher and fruit on a bare table. Some of these fruits are on a saucer. On the left, a curtain caresses the table. The visual confusion is brought by the cup whose real position in relation to the table is not discernible because it is half hidden by the pitcher.
3
1893 Fruits et Pot de Gingembre
2023 SOLD for $ 39M by Christie's
The still lifes of fruits and pot painted by Cézanne between 1890 and 1893 continue his experiments on the rhythmic confrontation of colors. They differ from the previous period by the hazardous unbalance of objects that supersedes the fake perspective of tilted plates.
The danger for a fruit to fall from the table is created by the folds of the crumpled cloth over the edge of the table. A typical example from the end of that period is the Rideau, cruchon et compotier 60 x 73 cm sold for $ 60M by Sotheby's in 1999.
A smaller example is Fruits et pot de gingembre, oil on canvas 33 x 46 cm staging three apples, one pear, one pomegranate and a ginger pot. The position of the isolated golden apple on the white cloth is inviting for an imminent fall. This painting was sold for $ 39M by Christie's on November 9, 2023, lot 41 B.
A similar example is the pear ready to fall in the Nature morte au crâne owned by the Barnes Foundation. The group of fruits on the right side also have an unsafe position.
The danger for a fruit to fall from the table is created by the folds of the crumpled cloth over the edge of the table. A typical example from the end of that period is the Rideau, cruchon et compotier 60 x 73 cm sold for $ 60M by Sotheby's in 1999.
A smaller example is Fruits et pot de gingembre, oil on canvas 33 x 46 cm staging three apples, one pear, one pomegranate and a ginger pot. The position of the isolated golden apple on the white cloth is inviting for an imminent fall. This painting was sold for $ 39M by Christie's on November 9, 2023, lot 41 B.
A similar example is the pear ready to fall in the Nature morte au crâne owned by the Barnes Foundation. The group of fruits on the right side also have an unsafe position.
#AuctionUpdate: From our 20th Century Evening Sale, Paul Cezanne’s ‘Fruits et pot de gingembre’ realizes $38.94M pic.twitter.com/zG4SUgzNqY
— Christie's (@ChristiesInc) November 10, 2023
1893 MONET
1
Les Glaçons, Bennecourt
2017 SOLD for $ 23.4M by Sotheby's
After the views of the Meules throughout the winter 1890-1891, the Peupliers painted in 1891 mark a turning point in the creativity of Claude Monet now attentive to express the tiny variations of light in a single composition.
In January 1893 Monet is working outdoors at Bennecourt, not far away from Giverny, and watches the ice blocks drifting on the Seine river. He prepares his series carefully until the thaw before finishing the paintings in his studio according to his usual practice. Very similar at first sight, these artworks display significant variations of the atmosphere.
Les Glaçons, oil on canvas 65 x 100 cm, was sold for $ 23.4M by Sotheby's on November 14, 2017, lot 25.
The scenery is colored by an attenuated sunlight. The thaw is not much advanced. The ice blocks in the foreground define the water plane above the reflections of the tall trees, anticipating the magics of the Nymphéas plane marking the surface of the pond that will occupy the artist in the next decade.
Please watch the video in which Sotheby's also shows another landscape coming at the same auction sale.
In January 1893 Monet is working outdoors at Bennecourt, not far away from Giverny, and watches the ice blocks drifting on the Seine river. He prepares his series carefully until the thaw before finishing the paintings in his studio according to his usual practice. Very similar at first sight, these artworks display significant variations of the atmosphere.
Les Glaçons, oil on canvas 65 x 100 cm, was sold for $ 23.4M by Sotheby's on November 14, 2017, lot 25.
The scenery is colored by an attenuated sunlight. The thaw is not much advanced. The ice blocks in the foreground define the water plane above the reflections of the tall trees, anticipating the magics of the Nymphéas plane marking the surface of the pond that will occupy the artist in the next decade.
Please watch the video in which Sotheby's also shows another landscape coming at the same auction sale.
Ahead of the public exhibition opening on 3 Nov in #NYC, browse #SothebysImpMod Art Evening Sale here: https://t.co/dZ70DI1MlS pic.twitter.com/bz2i0N7obb
— Sotheby's (@Sothebys) October 29, 2017
2
January - Glaçons, effet blanc
2013 SOLD for $ 16M by Sotheby's
Another view from the same series is titled Glaçons, Effet blanc. The artist shares the chilly mist of that winter which he likes so much. This oil on canvas 65 x 100 cm was sold for $ 16M by Sotheby's on November 6, 2013.
Two other examples are known, including an effect of mist kept the Philadelphia Museum of Art.
Two other examples are known, including an effect of mist kept the Philadelphia Museum of Art.
3
Summer - Meules à Giverny
2024 SOLD for $ 35M by Sotheby's
Countryside life is a delight for Monet. During the cold 1885 winter, his observation of frost leads to a direct interpretation of the changing colors of nature.
Then comes the summer. Claude and Alice enjoy to finish the day in the meadow separated from their garden by a brook lined with poplars. The harvest is performed and the haystacks are awaiting to enter into the barn.
On May 14, 2015, Christie's sold for $ 16.4M an oil on canvas 65 x 81 cm dated 1885, lot 15C. The composition is balanced, as always. A shadow is approaching the foot of the sun drenched stacks. In this soft shadow, halfway between the position of the artist and the poplars, the woman and three young children transform this peaceful landscape into a scene of intimate happiness.
Interestingly, Monet does not represent people at work in the fields. When he starts working by series in the later 1880s, nature modified by man or by himself and monuments become his only interests. Even his beloved family ceases to be staged in his pictures, with very rare exceptions such as a Blanche peignant in 1893. Also no more dog or bird.
The series of the Cathédrales de Rouen make Monet busy from 1892 to 1894. Desiring to take a rest, he goes back in 1893 for a series of three at hay season in La Prairie, the same meadow which he had painted in 1885. He had purchased it in the mean time with his breakthrough project to create a water garden, to become the bassin aux nymphéas.
The three canvases have the same composition centered by a single haystack in a harvested field. Far away through a row of trees that borders the brook, a group of other haystacks stand in their field. Monet uses small, rhythmic jerky brushstrokes for that daylight effect, a technique inspired by his rendering of the stone of the cathedral.
A sunny scenery, oil on canvas 65 x 100 cm, was sold for $ 35M by Sotheby's on May 15, 2024, lot 11. Please watch the video shared by the auction house. The image is shared by Wikimedia.
Then comes the summer. Claude and Alice enjoy to finish the day in the meadow separated from their garden by a brook lined with poplars. The harvest is performed and the haystacks are awaiting to enter into the barn.
On May 14, 2015, Christie's sold for $ 16.4M an oil on canvas 65 x 81 cm dated 1885, lot 15C. The composition is balanced, as always. A shadow is approaching the foot of the sun drenched stacks. In this soft shadow, halfway between the position of the artist and the poplars, the woman and three young children transform this peaceful landscape into a scene of intimate happiness.
Interestingly, Monet does not represent people at work in the fields. When he starts working by series in the later 1880s, nature modified by man or by himself and monuments become his only interests. Even his beloved family ceases to be staged in his pictures, with very rare exceptions such as a Blanche peignant in 1893. Also no more dog or bird.
The series of the Cathédrales de Rouen make Monet busy from 1892 to 1894. Desiring to take a rest, he goes back in 1893 for a series of three at hay season in La Prairie, the same meadow which he had painted in 1885. He had purchased it in the mean time with his breakthrough project to create a water garden, to become the bassin aux nymphéas.
The three canvases have the same composition centered by a single haystack in a harvested field. Far away through a row of trees that borders the brook, a group of other haystacks stand in their field. Monet uses small, rhythmic jerky brushstrokes for that daylight effect, a technique inspired by his rendering of the stone of the cathedral.
A sunny scenery, oil on canvas 65 x 100 cm, was sold for $ 35M by Sotheby's on May 15, 2024, lot 11. Please watch the video shared by the auction house. The image is shared by Wikimedia.
1893 Rue Saint-Lazare by Pissarro
2018 SOLD for $ 12.4M by Christie's
Linked with the greatest French painters of his time, Camille Pissarro had however a deeply independent temperament. Close to the anarchists, he looked for an original way that is not the realism of Corot or the pointillism of Seurat, two styles that he once seriously tried.
Considered now as one of the founders of Impressionism, he rather was one of its last precursors. Living in Pontoise and later in Eragny-sur-Epte, he painted local themes : the village, the river, the orchards, the peasants. Close to nature, he observes the beautiful colors that vary according to season, time and sky. The Impressionist technique of restoring the shades without using lines matches perfectly his artistic quest.
The Impressionist group did not survive the secession of Seurat and Signac in 1886. Over rivalries and disputes, Pissarro was the only one to have participated in all the exhibitions.
Durand-Ruel is not discouraged. He had supported the movement since the first hour and organized their second exhibition in his gallery in 1876. Threatened by bankruptcy, he keeps his impressionist paintings because nobody wants them. He finds the solution by organizing permanent or temporary exhibitions in London and New York. Collectors are becoming interested in Monet and Renoir.
During the winter of 1890-1891, the theme of the Meules by Monet became a series, although it was not originally intended as such by the artist. The breakthrough of this new phase of Impressionism is the series of Peupliers in 1891 and the three series of Cathédrales de Rouen begun in 1892 : Monet keeps the same composition from one work to another for expressing the variations of light.
The new success of Impressionism finally reaches Pissarro, installed since 1884 at Eragny-sur-Epte where he tirelessly paints the rural atmosphere. Unlike Monet, Pissarro does not reject the modern urban animation.
Pissarro is feeling at that time to be the last guarantor of the impressionist purity against the younger generation of Signac and Bonnard. Nevertheless Monet and Pissarro are not rivals but good friends. In 1892 Pissarro had taken a loan from Monet for buying the house he was renting in Eragny.
After a discussion with Durand-Ruel, Pissarro begins executing views of Paris. At that time eye problems restricted him to painting from his window, away from dust, wind, and direct sun. Leaving a pied-à-terre in Montmartre, he put up in 1893 at the Hôtel-Restaurant de Rome for two small series of the rue Saint-Lazare and of the place du Havre from his room window.
La Rue Saint-Lazare, temps lumineux is a winter view of the Haussmannian Paris much animated in a multiplicity of activities with walkers and with horse drawn carriages including a bus à impériale, in a class mingling that matches his anarchist feelings. This vertical oil on canvas 73 x 60 cm is painted in a divisionist technique in hundreds of hues applied in comma like strokes.
It was sold for $ 12.4M from a lower estimate of $ 8M by Christie's on November 11, 2018, lot 10A. The image is shared by Wikimedia.
He also made cityscape series of Rouen, Dieppe and Le Havre. As a witness of human animation in cities Pissarro is a major link between the Venetian vedustisti and LS Lowry.
Considered now as one of the founders of Impressionism, he rather was one of its last precursors. Living in Pontoise and later in Eragny-sur-Epte, he painted local themes : the village, the river, the orchards, the peasants. Close to nature, he observes the beautiful colors that vary according to season, time and sky. The Impressionist technique of restoring the shades without using lines matches perfectly his artistic quest.
The Impressionist group did not survive the secession of Seurat and Signac in 1886. Over rivalries and disputes, Pissarro was the only one to have participated in all the exhibitions.
Durand-Ruel is not discouraged. He had supported the movement since the first hour and organized their second exhibition in his gallery in 1876. Threatened by bankruptcy, he keeps his impressionist paintings because nobody wants them. He finds the solution by organizing permanent or temporary exhibitions in London and New York. Collectors are becoming interested in Monet and Renoir.
During the winter of 1890-1891, the theme of the Meules by Monet became a series, although it was not originally intended as such by the artist. The breakthrough of this new phase of Impressionism is the series of Peupliers in 1891 and the three series of Cathédrales de Rouen begun in 1892 : Monet keeps the same composition from one work to another for expressing the variations of light.
The new success of Impressionism finally reaches Pissarro, installed since 1884 at Eragny-sur-Epte where he tirelessly paints the rural atmosphere. Unlike Monet, Pissarro does not reject the modern urban animation.
Pissarro is feeling at that time to be the last guarantor of the impressionist purity against the younger generation of Signac and Bonnard. Nevertheless Monet and Pissarro are not rivals but good friends. In 1892 Pissarro had taken a loan from Monet for buying the house he was renting in Eragny.
After a discussion with Durand-Ruel, Pissarro begins executing views of Paris. At that time eye problems restricted him to painting from his window, away from dust, wind, and direct sun. Leaving a pied-à-terre in Montmartre, he put up in 1893 at the Hôtel-Restaurant de Rome for two small series of the rue Saint-Lazare and of the place du Havre from his room window.
La Rue Saint-Lazare, temps lumineux is a winter view of the Haussmannian Paris much animated in a multiplicity of activities with walkers and with horse drawn carriages including a bus à impériale, in a class mingling that matches his anarchist feelings. This vertical oil on canvas 73 x 60 cm is painted in a divisionist technique in hundreds of hues applied in comma like strokes.
It was sold for $ 12.4M from a lower estimate of $ 8M by Christie's on November 11, 2018, lot 10A. The image is shared by Wikimedia.
He also made cityscape series of Rouen, Dieppe and Le Havre. As a witness of human animation in cities Pissarro is a major link between the Venetian vedustisti and LS Lowry.
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< 1893 Jeune Tahitienne by Gauguin
2011 SOLD for $ 11.3M by Sotheby's
Gauguin is uncomfortable in Europe in 1891. He is too much beside his time. Painter, printmaker, sculptor, he uses all these techniques in search of a metaphysical truth that will never be attainable.
He is not really beside but actually ahead of his time with his paintings showing bold compositions and bright colors and his iconoclastic themes. He also embodies the new taste for primitivism, like the somehow naive philosophers of the eighteenth century who attempted empathy with the "noble savages".
Arriving in Tahiti, he believes finding there the freedom of thought, and also the sexual liberty. The young Tahitian women inspire him.
A wooden sculpture sold for $ 11.3M by Sotheby's on May 3, 2011, lot 8, dates from that period of euphoria which ends when he leaves Tahiti in June 1893.
It is the head of a young Tahitian woman with a serene expression, 24 cm high. The artist made for this piece a pair of ear ornaments in boxwood and a necklace of coral and shells in native style with five rows which all remained in place on the statue.
As Modigliani will do after him, Gauguin was able to express in a bust his view of the ideal woman. Back in France in 1894, he present this work to the daughter of a critic who was not hostile to his art.
He is not really beside but actually ahead of his time with his paintings showing bold compositions and bright colors and his iconoclastic themes. He also embodies the new taste for primitivism, like the somehow naive philosophers of the eighteenth century who attempted empathy with the "noble savages".
Arriving in Tahiti, he believes finding there the freedom of thought, and also the sexual liberty. The young Tahitian women inspire him.
A wooden sculpture sold for $ 11.3M by Sotheby's on May 3, 2011, lot 8, dates from that period of euphoria which ends when he leaves Tahiti in June 1893.
It is the head of a young Tahitian woman with a serene expression, 24 cm high. The artist made for this piece a pair of ear ornaments in boxwood and a necklace of coral and shells in native style with five rows which all remained in place on the statue.
As Modigliani will do after him, Gauguin was able to express in a bust his view of the ideal woman. Back in France in 1894, he present this work to the daughter of a critic who was not hostile to his art.
1893 Au Bal de l'Opéra by Lautrec
2007 SOLD for $ 10.1M by Christie's
As evidenced by his 1891 poster for le Moulin Rouge, Lautrec is a keen observer of his friends in their lively amusement. That included the new craze of that time for masked balls.
Painted in 1893, Au Bal de l'Opéra features two groups separated by a balustrade at the top of the famous stairs of the Opéra de Paris. The social classes are not mixed : five comedians and friends are in the foreground, and an old dandy and his partner behind. A blurred crowd is dancing in the great hall.
The men keep their top hat in the fashion of the time, excepted one who is in his comedian's make up. A full bearded lustful face is the most detailed, with wide open eyes, ostensibly arched eyebrows and ambiguous smile. He has been identified as a frequent drinking companion of the artist. Another participant is the Moulin Rouge dancer Jane Avril. The other characters are also identified excepted a masked woman.
This oil, charcoal and gouache on joined paper laid down on panel 77 x 48 cm was sold for $ 10.1M from a lower estimate of $ 6M by Christie's on November 6, 2007, lot 35.
In 1894 Geffroy used this picture to illustrate an article on Le plaisir à Paris.
Painted in 1893, Au Bal de l'Opéra features two groups separated by a balustrade at the top of the famous stairs of the Opéra de Paris. The social classes are not mixed : five comedians and friends are in the foreground, and an old dandy and his partner behind. A blurred crowd is dancing in the great hall.
The men keep their top hat in the fashion of the time, excepted one who is in his comedian's make up. A full bearded lustful face is the most detailed, with wide open eyes, ostensibly arched eyebrows and ambiguous smile. He has been identified as a frequent drinking companion of the artist. Another participant is the Moulin Rouge dancer Jane Avril. The other characters are also identified excepted a masked woman.
This oil, charcoal and gouache on joined paper laid down on panel 77 x 48 cm was sold for $ 10.1M from a lower estimate of $ 6M by Christie's on November 6, 2007, lot 35.
In 1894 Geffroy used this picture to illustrate an article on Le plaisir à Paris.
1893 Coca-Cola Soda Fountain
2012 SOLD for $ 5.3M by Richard Opfer
The nineteenth century saw the birth of a tremendously effective initiative: the world's expositions, where the public comes to see by themselves the qualities of industrial products. In Chicago in 1893, the World's Columbian Exposition enabled the triumph of the applications of electricity.
A booth made by the Liquid Carbonic Company for the Columbian has been preserved. This double marble and alabaster furniture is made of a heavily decorated back wall 6 meters long and of a counter to accommodate the drinkers. Two soda fountains, each one equipped with three valves, are positioned on the counter.
This piece is decorated with Coca-Cola ads that are not original but nevertheless mark the moods of that time.
The fetish American drink was indeed invented shortly before by a pharmacist, under the influence of temperance societies. The method of public distribution in vogue at that time is the fountain of carbonated water, believed to be favorable to health. The sales of bottled Coca-Cola will start only on the following year.
This booth witnessing the style of an obsolete era is the star lot of the second sale of the Schmidt Coca-Cola Museum, held on March 25, 2012 by Richard Opfer. It was sold for $ 5.3M from a lower estimate of $ 75K, lot 540 here linked to the LiveAuctioneers bidding platform. It is in the background during the sale in this video shared by CokeConversations on YouTube.
A booth made by the Liquid Carbonic Company for the Columbian has been preserved. This double marble and alabaster furniture is made of a heavily decorated back wall 6 meters long and of a counter to accommodate the drinkers. Two soda fountains, each one equipped with three valves, are positioned on the counter.
This piece is decorated with Coca-Cola ads that are not original but nevertheless mark the moods of that time.
The fetish American drink was indeed invented shortly before by a pharmacist, under the influence of temperance societies. The method of public distribution in vogue at that time is the fountain of carbonated water, believed to be favorable to health. The sales of bottled Coca-Cola will start only on the following year.
This booth witnessing the style of an obsolete era is the star lot of the second sale of the Schmidt Coca-Cola Museum, held on March 25, 2012 by Richard Opfer. It was sold for $ 5.3M from a lower estimate of $ 75K, lot 540 here linked to the LiveAuctioneers bidding platform. It is in the background during the sale in this video shared by CokeConversations on YouTube.
