1964
See also : Top 10 Painting USA USA II Warhol Celebrities by Warhol USA by Warhol Lichtenstein Bacon Bacon 1963-70 Modern China Mountains in China The Woman The Man Groups Animals Self portrait
1964 Shot Marilyn by Warhol
2022 SOLD for $ 195M by Christie's
In 1964 Andy Warhol revisits his quintessential Marilyn with a more sophisticated screening process for an increased luminosity and detail. He prepares five paintings 102 x 102 cm each in acrylic and silkscreen ink on linen, with respective red, orange, light blue, sage blue and turquoise backgrounds.
He is still stacking them at The Factory when a woman asks him the authorization to shoot them. She is the friend of the usual photographer of The Factory and Andy accepts. She does not come with a camera but with a revolver and shoots the stack of four at the level of Marilyn's forehead. They are now known as the Shot Marilyns despite being repaired with no evidence left from the hole. The turquoise had been spared. Andy fired the photographer.
Shot Orange was sold for $ 17.3M by Sotheby's on May 14, 1998. It was rumored in December 2017 to have been sold for $ 250M to the financier Kenneth Griffin. Shot Red was sold by Christie's to a Japanese bidder for $ 4M in 1989 and privately acquired by Philip Niarchos in 1994 for a reported $ 3.6M. Shot Light Blue was acquired in 1967 by Peter Brant. Spared from the shot, the Turquoise was rumored in 2007 to have been sold to Steven Cohen for $ 80M.
Coming from the collection of the Ammann dealer brother and sister team, Shot Sage Blue Marilyn was sold for $ 195M by Christie's on May 9, 2022, lot 36A.
He is still stacking them at The Factory when a woman asks him the authorization to shoot them. She is the friend of the usual photographer of The Factory and Andy accepts. She does not come with a camera but with a revolver and shoots the stack of four at the level of Marilyn's forehead. They are now known as the Shot Marilyns despite being repaired with no evidence left from the hole. The turquoise had been spared. Andy fired the photographer.
Shot Orange was sold for $ 17.3M by Sotheby's on May 14, 1998. It was rumored in December 2017 to have been sold for $ 250M to the financier Kenneth Griffin. Shot Red was sold by Christie's to a Japanese bidder for $ 4M in 1989 and privately acquired by Philip Niarchos in 1994 for a reported $ 3.6M. Shot Light Blue was acquired in 1967 by Peter Brant. Spared from the shot, the Turquoise was rumored in 2007 to have been sold to Steven Cohen for $ 80M.
Coming from the collection of the Ammann dealer brother and sister team, Shot Sage Blue Marilyn was sold for $ 195M by Christie's on May 9, 2022, lot 36A.
1964 The New Blondes
2015 SOLD for $ 95M including premium
The American pop movement that develops around Castelli in the early 1960s is pushing popular themes into major art. At the same time, the status of women is undergoing profound transformations, along with the debates that will soon change forever the legal aspects of contraception and abortion.
Roy Lichtenstein is clever and subtle. His reuse of pictures from comics associated with his recreation of color in carefully painted patterns similar as printing dots maintains his characters within a fantasy world. His young blondes become an ersatz of the new modern woman. They occupy a dominant position in his art from the first Crying girl of 1963.
On November 9 in New York, Christie's sells Nurse, oil and acrylic on canvas 122 x 122 cm painted in 1964, lot 13A. The press release of October 16 indicates an estimate in the region of $ 80M.
The blonde is nervous : closed fist, open mouth, looking sideways, uncombed hair. It is obvious that something is going wrong for this young woman in a nurse's uniform. She is not pretty with her thin cheeks and big eyes. She is an ordinary woman subjected to intense passions. She has problems just like you and me.
The artist has liberated his scenes from the cells of the comics by removing the texts. He is right: the empathy with the character is strengthened by this mystery that can be closed out by looking into the original comics. The disarray of the nurse is due to a discussion in the next room between the doctor whom she attempted to seduce and her rival who calls her a liar.
I invite you to watch the video shared by Christie's, including voiced sequences with the artist.
The image below is shared by Wikimedia with attribution : By © Estate of Roy Lichtenstein [CC BY 4.0 (http://creativecommons.org/licenses/by/4.0)], via Wikimedia Commons
Roy Lichtenstein is clever and subtle. His reuse of pictures from comics associated with his recreation of color in carefully painted patterns similar as printing dots maintains his characters within a fantasy world. His young blondes become an ersatz of the new modern woman. They occupy a dominant position in his art from the first Crying girl of 1963.
On November 9 in New York, Christie's sells Nurse, oil and acrylic on canvas 122 x 122 cm painted in 1964, lot 13A. The press release of October 16 indicates an estimate in the region of $ 80M.
The blonde is nervous : closed fist, open mouth, looking sideways, uncombed hair. It is obvious that something is going wrong for this young woman in a nurse's uniform. She is not pretty with her thin cheeks and big eyes. She is an ordinary woman subjected to intense passions. She has problems just like you and me.
The artist has liberated his scenes from the cells of the comics by removing the texts. He is right: the empathy with the character is strengthened by this mystery that can be closed out by looking into the original comics. The disarray of the nurse is due to a discussion in the next room between the doctor whom she attempted to seduce and her rival who calls her a liar.
I invite you to watch the video shared by Christie's, including voiced sequences with the artist.
The image below is shared by Wikimedia with attribution : By © Estate of Roy Lichtenstein [CC BY 4.0 (http://creativecommons.org/licenses/by/4.0)], via Wikimedia Commons
1964 It was America
2019 SOLD for $ 89M including premium
Real life is a collection of disparate elements that sometimes arise simultaneously. Robert Rauschenberg wants to express this complexity. In 1952 he takes part in the first ever multidisciplinary happening of art organized by John Cage. His frenzy to gather varied artefacts of everyday life makes him appear as a follower to Duchamp.
Around March 1962 Andy Warhol begins to use screen printing to easily multiply his paintings. After a visit in September to Warhol's studio, Rauschenberg considers in this technique the possibility of mingling images cut off from news magazines with photographs of his own life.
Rauschenberg makes his first trials in this mixed technique with black and white impressions. He uses quadrichromy from the spring of 1963. Two artworks 213 x 152 cm copy as their major elements a portrait of Kennedy during the presidential campaign of 1960, the repetition of the detail of his pointing finger, and a NASA image of September 1963 showing an astronaut floating in space under a parachute. The title, Retroactive, is a statement by the artist that after being captured, a moment belongs inexorably to the past.
Kennedy dies in November 1963, plunging even deeper into the past. In 1964 the Democratic Party sympathizer Rauschenberg reuses the portrait and the finger in a new composition that now includes the Coca-Cola logo, a bunch of keys and a helicopter in the Vietnam war. Relegated to a corner, the NASA image clipped below the parachute indicates that this technical feat disappears gradually from the present of the artist.
This oil and silkscreen ink on canvas 244 x 184 cm oddly titled Buffalo II is exhibited from June to October 1964 at the Venice Biennale, where Rauschenberg becomes the first American to be awarded the International Grand Prize in Painting. Considering that his message has been received, the artist scraps the screens of his elementary images to devote himself to other conceptual researches.
Buffalo II is estimated $ 50M for sale by Christie's in New York on May 15, lot 5 B. Please watch the video prepared by Christie's in which this artwork is commented by the son of the artist.
Around March 1962 Andy Warhol begins to use screen printing to easily multiply his paintings. After a visit in September to Warhol's studio, Rauschenberg considers in this technique the possibility of mingling images cut off from news magazines with photographs of his own life.
Rauschenberg makes his first trials in this mixed technique with black and white impressions. He uses quadrichromy from the spring of 1963. Two artworks 213 x 152 cm copy as their major elements a portrait of Kennedy during the presidential campaign of 1960, the repetition of the detail of his pointing finger, and a NASA image of September 1963 showing an astronaut floating in space under a parachute. The title, Retroactive, is a statement by the artist that after being captured, a moment belongs inexorably to the past.
Kennedy dies in November 1963, plunging even deeper into the past. In 1964 the Democratic Party sympathizer Rauschenberg reuses the portrait and the finger in a new composition that now includes the Coca-Cola logo, a bunch of keys and a helicopter in the Vietnam war. Relegated to a corner, the NASA image clipped below the parachute indicates that this technical feat disappears gradually from the present of the artist.
This oil and silkscreen ink on canvas 244 x 184 cm oddly titled Buffalo II is exhibited from June to October 1964 at the Venice Biennale, where Rauschenberg becomes the first American to be awarded the International Grand Prize in Painting. Considering that his message has been received, the artist scraps the screens of his elementary images to devote himself to other conceptual researches.
Buffalo II is estimated $ 50M for sale by Christie's in New York on May 15, lot 5 B. Please watch the video prepared by Christie's in which this artwork is commented by the son of the artist.
1964 The Terrible Twentieth Century
2014 SOLD 63 M$ including premium
The publication by Life magazine on May 17, 1963 of photos of the repression of race riots in Alabama shocked America and the world. The United States are seen as a country in civil war. The land of racial hatred.
This report possibly had the strongest political impact in the history of the press. Kennedy understood that the reforms of laws and behaviors are inevitable. The road will be long, but civil peace will eventually settle. These photos made by Charles Moore for Associated Press are the Guernica of America.
At the same time, Andy Warhol releases the real meaning of his own artistic message. Consumerism is an artifact, advertising is a technique which however has the merit of having shown the expressive power of the multiple image.
Andy chose his press photos around the theme of death in America. The gathering of the Death and Disaster series reveals the true reason of the post mortem portrait of Marilyn. Warhol's message did not receive the same immediate impact as Guernica's. It took almost half a century before the multiples of the Car Crash are pushed toward the top position in the art of the twentieth century.
Recuperating the photos published by Life, the Race Riot by Warhol is his most political image, using a historical event in progress. He hates violence and fears death. The running Black is the victim, the dog excited to bite is the symbol of horror.
After painting a few units of the Race Riot, Warhol made in 1964 a multiple 2 x 2. In the top register, white color is the truth and blue is chilling. On the down side the double red is blood.
This quadruple Race Riot, 152 x 168 cm overall, is for sale on May 13 at Christie's in New York. The estimate of $ 50M was released by Christie's in an interview with the Wall Street Journal.
I invite you to play the video shared by Christie's to introduce this lot.
POST SALE COMMENT
The quad of Race Riot is a major piece by Warhol, sold for $ 63M including premium.
This report possibly had the strongest political impact in the history of the press. Kennedy understood that the reforms of laws and behaviors are inevitable. The road will be long, but civil peace will eventually settle. These photos made by Charles Moore for Associated Press are the Guernica of America.
At the same time, Andy Warhol releases the real meaning of his own artistic message. Consumerism is an artifact, advertising is a technique which however has the merit of having shown the expressive power of the multiple image.
Andy chose his press photos around the theme of death in America. The gathering of the Death and Disaster series reveals the true reason of the post mortem portrait of Marilyn. Warhol's message did not receive the same immediate impact as Guernica's. It took almost half a century before the multiples of the Car Crash are pushed toward the top position in the art of the twentieth century.
Recuperating the photos published by Life, the Race Riot by Warhol is his most political image, using a historical event in progress. He hates violence and fears death. The running Black is the victim, the dog excited to bite is the symbol of horror.
After painting a few units of the Race Riot, Warhol made in 1964 a multiple 2 x 2. In the top register, white color is the truth and blue is chilling. On the down side the double red is blood.
This quadruple Race Riot, 152 x 168 cm overall, is for sale on May 13 at Christie's in New York. The estimate of $ 50M was released by Christie's in an interview with the Wall Street Journal.
I invite you to play the video shared by Christie's to introduce this lot.
POST SALE COMMENT
The quad of Race Riot is a major piece by Warhol, sold for $ 63M including premium.
1964 Lucian Freud by Bacon
2022 SOLD for £ 43M by Sotheby's
In and around Soho's pubs and clubs, eccentric people tried to have a life of pleasures. They included poets, writers, musicians and of course artists led by Francis Bacon, Lucian Freud and Frank Auerbach. John Deakin was their portrait photographer from inside the gang.
Francis did not accept other people when he was working, until a very late exception for John Edwards. Desiring to reveal the tortuous psyche of his fellows, he relied on Deakin's photos.
Lucian could not escape to be included in that weird pantheon. Study for Portrait of Lucian Freud, oil on canvas 198 x 148 cm painted in 1964, was sold for £ 43M by Sotheby's on June 29, 2022, lot 10. This artwork was originally the central part of a large triptych broken after a traveling exhibition in 1965 and went out of view afterward. The side panels are still extant.
The model is a photo by Deakin featuring Lucian seated on a bed, the arms outstretched behind him with both fists on the blanket.
On Francis's picture, the bed is replaced by a green bench, the most chilly color that Francis could find for expressing his deep aversion for his friends, often used in period around the distorted figures of Henrietta, Muriel and the late Peter.
There is a sharp contrast between the rotten head in thick green, pink and white and the realistic drawing of the rest of the body. The sleeves are rolled up over the elbows. Francis opened the shirt over Lucian's nude chest, increasing the impression of his friend as a brawler as he was in real life.
On February 10, 2011, Sotheby's sold for £23M a small triptych portrait of Lucian Freud by Bacon, 35 cm high, also painted in 1964.
Francis Bacon went deep into the artistic study of confusion between human beings. Indeed Picasso did it before him, drawing in a single face the lines of loved women. When he mixes himself with one of his companions, Francis reaches an extreme level of questioning the mankind.
On June 27, 2012, Christie's sold for £ 21.5M a Study for a self-portrait painted in 1964 by Francis Bacon, 152 x 140 cm, lot 25. A man sits in an empty room. The analysis of this painting by the auction house shows that the head, very distorted, belongs to Francis as suggested by the title. The rest of the body displays the more massive features of Lucian Freud, from a photograph by John Deakin. This surprising discovery is all the more plausible because 1964 was a very good year for the relations between the two artists.
Francis did not accept other people when he was working, until a very late exception for John Edwards. Desiring to reveal the tortuous psyche of his fellows, he relied on Deakin's photos.
Lucian could not escape to be included in that weird pantheon. Study for Portrait of Lucian Freud, oil on canvas 198 x 148 cm painted in 1964, was sold for £ 43M by Sotheby's on June 29, 2022, lot 10. This artwork was originally the central part of a large triptych broken after a traveling exhibition in 1965 and went out of view afterward. The side panels are still extant.
The model is a photo by Deakin featuring Lucian seated on a bed, the arms outstretched behind him with both fists on the blanket.
On Francis's picture, the bed is replaced by a green bench, the most chilly color that Francis could find for expressing his deep aversion for his friends, often used in period around the distorted figures of Henrietta, Muriel and the late Peter.
There is a sharp contrast between the rotten head in thick green, pink and white and the realistic drawing of the rest of the body. The sleeves are rolled up over the elbows. Francis opened the shirt over Lucian's nude chest, increasing the impression of his friend as a brawler as he was in real life.
On February 10, 2011, Sotheby's sold for £23M a small triptych portrait of Lucian Freud by Bacon, 35 cm high, also painted in 1964.
Francis Bacon went deep into the artistic study of confusion between human beings. Indeed Picasso did it before him, drawing in a single face the lines of loved women. When he mixes himself with one of his companions, Francis reaches an extreme level of questioning the mankind.
On June 27, 2012, Christie's sold for £ 21.5M a Study for a self-portrait painted in 1964 by Francis Bacon, 152 x 140 cm, lot 25. A man sits in an empty room. The analysis of this painting by the auction house shows that the head, very distorted, belongs to Francis as suggested by the title. The rest of the body displays the more massive features of Lucian Freud, from a photograph by John Deakin. This surprising discovery is all the more plausible because 1964 was a very good year for the relations between the two artists.
1964 Vulnerability of the Word
2019 SOLD for $ 52M including premium
Ed Ruscha began his career in commercial art. He is influenced by Jasper Johns' Targets that dissociate art from its emotional and cultural contexts and emphasize difficult and complex textures.
In 1961 Ruscha transforms the painting of signs into a new major art. In the center, a few letters constitute a word. The typography, the positioning, the monochrome color of the letters and the background allow an unlimited variety of visual impressions and of attempts at interpretation. Yet Ruscha never proposes a correlation with the raw meaning of his word.
Ruscha is in the right place at the right time : Los Angeles is eager for new art. In 1962 the Ferus Gallery exhibits the complete set of 32 Campbell's Soup Cans paintings by Andy Warhol, a young artist who also came from commercial art. Ferus is a short series of letters that have no meaning but sound good. In the same year this gallery organizes the first solo exhibition of Ed Ruscha, already recognized as the initiator of a new Californian form of Pop art.
SMASH, oil on canvas 182 x 170 cm painted in 1963, offers its spectacular contrast between the five bright yellow letters in an elegant typography and the dark blue monochrome background. This artwork was sold for $ 30.4M including premium by Christie's on November 12, 2014 over a lower estimate of $ 15M.
In three works painted in 1964, Ruscha shows the fragile and therefore ephemeral feature of his letters, which he attacks with clamps just as Warhol wounded his cans with a can opener. The wrinkling created by the tool reveals that the letter is a tissue or a paper that could not maintain its flat position.
The first is BOSS, a word that Ruscha had used in its integrity in 1961. Two clamps crush the final S. This work is titled 'Not Only Securing The Letter But Damaging It As Well'.
The second, oil on canvas 150 x 140 cm, is RADIO in yellow letters on a sky blue background, more exactly entitled 'Hurting The Word Radio # 1'. A clamp dislocates the O to bring it closer to the I.
In the same format, Hurting The Word Radio # 2 is identical, except that an additional clamp painfully crushes the R at the point of its narrowing. This artwork is estimated $ 30M for sale by Christie's in New York on November 13, lot 6 B.
In 1961 Ruscha transforms the painting of signs into a new major art. In the center, a few letters constitute a word. The typography, the positioning, the monochrome color of the letters and the background allow an unlimited variety of visual impressions and of attempts at interpretation. Yet Ruscha never proposes a correlation with the raw meaning of his word.
Ruscha is in the right place at the right time : Los Angeles is eager for new art. In 1962 the Ferus Gallery exhibits the complete set of 32 Campbell's Soup Cans paintings by Andy Warhol, a young artist who also came from commercial art. Ferus is a short series of letters that have no meaning but sound good. In the same year this gallery organizes the first solo exhibition of Ed Ruscha, already recognized as the initiator of a new Californian form of Pop art.
SMASH, oil on canvas 182 x 170 cm painted in 1963, offers its spectacular contrast between the five bright yellow letters in an elegant typography and the dark blue monochrome background. This artwork was sold for $ 30.4M including premium by Christie's on November 12, 2014 over a lower estimate of $ 15M.
In three works painted in 1964, Ruscha shows the fragile and therefore ephemeral feature of his letters, which he attacks with clamps just as Warhol wounded his cans with a can opener. The wrinkling created by the tool reveals that the letter is a tissue or a paper that could not maintain its flat position.
The first is BOSS, a word that Ruscha had used in its integrity in 1961. Two clamps crush the final S. This work is titled 'Not Only Securing The Letter But Damaging It As Well'.
The second, oil on canvas 150 x 140 cm, is RADIO in yellow letters on a sky blue background, more exactly entitled 'Hurting The Word Radio # 1'. A clamp dislocates the O to bring it closer to the I.
In the same format, Hurting The Word Radio # 2 is identical, except that an additional clamp painfully crushes the R at the point of its narrowing. This artwork is estimated $ 30M for sale by Christie's in New York on November 13, lot 6 B.
1964 Maoist Landscapes by Li Keran
2012 SOLD 293 M RMB yuan including premium
The art of Li Keran developed during the Cultural Revolution. Westerner artistic circles would like to forget this cultural dictatorship but the Chinese are less resentful and the work of Li is appreciated. It demonstrates in any case that art was not annihilated during this period providing that the themes were politically instigating.
On May 12, 2012, China Guardian sold RMB 124M including premium a painting made by Li in 1974, of very large size, 141 x 243 cm. This colored landscape shows a secular shrine: a former residence of Mao in his hometown of Shaoshan. The yard is animated with groups honoring their hero in different ways.
On June 3 in Beijing, Poly sells two other revolutionary artworks by Li.
Mountains in red, 131 x 84 cm, was painted in 1964, ie shortly before the outbreak of the Cultural Revolution. The strident red of the landscape could please the government. Groups of white houses maintain a popular simplicity.
Dated 1976, the year of Mao's death, Jinggang Mountain, 176 x 128 cm, is slightly colored in the grand tradition of classical landscapes, but still politically correct. The animation is not assured by a philosopher and his followers but by a schoolmaster and his pupils under the protection of the red flag.
POST SALE COMMENT
The Landscape in Red reached an exceptional price, RMB 293M including premium, equivalent to US$ 46M.
In the press release issued after the sale, it is indicated that this painting is related by the artist to a poem by Chairman Mao. Anyway, this result is indicative of a growing interest for Maoist art.
The image of this red landscape is shared post sale by Art Market Monitor.
The landscape in Jinggang has not been sold.
LATER INFORMATION
A Jinggan Mountain was sold for RMB 138M including premium by China Guardian on November 20, 2019. It is illustrated in the post sale press release of the auction house. It is certainly the same painting as discussed above.
On May 12, 2012, China Guardian sold RMB 124M including premium a painting made by Li in 1974, of very large size, 141 x 243 cm. This colored landscape shows a secular shrine: a former residence of Mao in his hometown of Shaoshan. The yard is animated with groups honoring their hero in different ways.
On June 3 in Beijing, Poly sells two other revolutionary artworks by Li.
Mountains in red, 131 x 84 cm, was painted in 1964, ie shortly before the outbreak of the Cultural Revolution. The strident red of the landscape could please the government. Groups of white houses maintain a popular simplicity.
Dated 1976, the year of Mao's death, Jinggang Mountain, 176 x 128 cm, is slightly colored in the grand tradition of classical landscapes, but still politically correct. The animation is not assured by a philosopher and his followers but by a schoolmaster and his pupils under the protection of the red flag.
POST SALE COMMENT
The Landscape in Red reached an exceptional price, RMB 293M including premium, equivalent to US$ 46M.
In the press release issued after the sale, it is indicated that this painting is related by the artist to a poem by Chairman Mao. Anyway, this result is indicative of a growing interest for Maoist art.
The image of this red landscape is shared post sale by Art Market Monitor.
The landscape in Jinggang has not been sold.
LATER INFORMATION
A Jinggan Mountain was sold for RMB 138M including premium by China Guardian on November 20, 2019. It is illustrated in the post sale press release of the auction house. It is certainly the same painting as discussed above.
1964 The Sleeping Girl by Roy Lichtenstein
2012 SOLD 45 M$ including premium
The sleeping girl of Roy Lichtenstein is not a Marie-Thérèse Walter. She is neither nice nor attractive: she sleeps.
She is not a Marilyn or a Liz by Warhol. She is not famous, and has perhaps never existed anywhere but in the imagination of a comic book writer.
Quite simply, this young woman painted in 1964 on a canvas 91 x 91 cm is remarkably typical of the sixties, with her blonde hair too thick to be elegant.
She does not dream. Lichtenstein does not attribute her any thought, any boxed speech, unlike Ohhh Alright, 90 x 96 cm, made in the same year and sold $ 42.5 million including premium at Christie's on November 9, 2010.
With her simple composition, the hair treated in flat vivid monochrome and the facial skin made in dots like a printed poster, the sleeping girl has all the qualities we love in an early Lichtenstein. His art was an immediate success. Purchased the year of its creation, the painting had never reappeared on the market.
It is estimated $ 30M, for sale by Sotheby's in New York on May 9. Here is the link to the page where Sotheby's announces the sale.
POST SALE COMMENT
The speechless series of heads of young women by Lichtenstein is iconic. This painting was sold $ 45M including premium.
The low resolution image below is shared by Wikimedia for fair use :
She is not a Marilyn or a Liz by Warhol. She is not famous, and has perhaps never existed anywhere but in the imagination of a comic book writer.
Quite simply, this young woman painted in 1964 on a canvas 91 x 91 cm is remarkably typical of the sixties, with her blonde hair too thick to be elegant.
She does not dream. Lichtenstein does not attribute her any thought, any boxed speech, unlike Ohhh Alright, 90 x 96 cm, made in the same year and sold $ 42.5 million including premium at Christie's on November 9, 2010.
With her simple composition, the hair treated in flat vivid monochrome and the facial skin made in dots like a printed poster, the sleeping girl has all the qualities we love in an early Lichtenstein. His art was an immediate success. Purchased the year of its creation, the painting had never reappeared on the market.
It is estimated $ 30M, for sale by Sotheby's in New York on May 9. Here is the link to the page where Sotheby's announces the sale.
POST SALE COMMENT
The speechless series of heads of young women by Lichtenstein is iconic. This painting was sold $ 45M including premium.
The low resolution image below is shared by Wikimedia for fair use :
1964 Oooh... Lichtenstein...
2010 SOLD 42.6 M$ including premium
Pop art was born of the visions of Johns, Warhol, Lichtenstein and others who sought and found fame by showing contemporary objects and subjects and by refusing all previous pictorial traditions.
Roy Lichtenstein was following two different practices, as discussed below.
The usual object is shown in the rough and out of context by deleting all references to the brand required by the consumers, unlike Warhol's. These paintings with clear lines (a ball of string, for example) are a bit austere.
A glass of ice cream, oil on canvas done in 1962, 165 x 82 cm, is estimated $ 12M, for sale by Sotheby's in New York on November 9. It is illustrated in the release shared by Artdaily.
The other theme pushed his glory, helping to show to the public the possibility of a different art: the use of pictures from romance comics.
So "In the car", 1963, 76 x 102 cm, shows a couple. The driving man looks at his negligent companion with an air of annoyance, but they do not speak. This artwork was sold for $ 16.2 million including premium on November 8, 2005 by Christie's.
The painting of 1964, 90 x 96 cm, for sale by Christie's on November 10 in New York, is more sensational: the redhead girl grabs her phone (period!) with both hands saying "OHHH... ALRIGHT... " in a speech bubble!
This work is illustrated in the article shared by the Wall Street Journal, which tells us that Christie's won the confidence of the wealthy Mr. Wynn to get on that lot the highest price ever recorded on a work by Lichtenstein. The catalog does not publish an estimate.
POST SALE COMMENTS
1
This is the first of two expected results for Lichtenstein in the above article: $ 14M including premium for Ice Cream Soda at Sotheby's. That is good, because this work seemed to me rather hard to sell. The following tomorrow.
2
Christie's had taken a big risk on this transaction.
Financial risk by organizing a third party guarantee. Risk in the assessment of this lot for a price never achieved for a work of Lichtenstein. Risk in its credibility to its top customers by announcing that the sale had been entrusted by one of the top collectors, Steve Wynn.
The press had discussed about $ 40M. The lot was sold for $ 42.6 million including premium. We can not know what was the role of the financial package in this result. Whatever. By passing this transaction, Christie's has just brilliantly demonstrated that the seller crisis of 2009 is a fact of the past.
The low resolution image below is shared by Wikimedia for fair use :
Roy Lichtenstein was following two different practices, as discussed below.
The usual object is shown in the rough and out of context by deleting all references to the brand required by the consumers, unlike Warhol's. These paintings with clear lines (a ball of string, for example) are a bit austere.
A glass of ice cream, oil on canvas done in 1962, 165 x 82 cm, is estimated $ 12M, for sale by Sotheby's in New York on November 9. It is illustrated in the release shared by Artdaily.
The other theme pushed his glory, helping to show to the public the possibility of a different art: the use of pictures from romance comics.
So "In the car", 1963, 76 x 102 cm, shows a couple. The driving man looks at his negligent companion with an air of annoyance, but they do not speak. This artwork was sold for $ 16.2 million including premium on November 8, 2005 by Christie's.
The painting of 1964, 90 x 96 cm, for sale by Christie's on November 10 in New York, is more sensational: the redhead girl grabs her phone (period!) with both hands saying "OHHH... ALRIGHT... " in a speech bubble!
This work is illustrated in the article shared by the Wall Street Journal, which tells us that Christie's won the confidence of the wealthy Mr. Wynn to get on that lot the highest price ever recorded on a work by Lichtenstein. The catalog does not publish an estimate.
POST SALE COMMENTS
1
This is the first of two expected results for Lichtenstein in the above article: $ 14M including premium for Ice Cream Soda at Sotheby's. That is good, because this work seemed to me rather hard to sell. The following tomorrow.
2
Christie's had taken a big risk on this transaction.
Financial risk by organizing a third party guarantee. Risk in the assessment of this lot for a price never achieved for a work of Lichtenstein. Risk in its credibility to its top customers by announcing that the sale had been entrusted by one of the top collectors, Steve Wynn.
The press had discussed about $ 40M. The lot was sold for $ 42.6 million including premium. We can not know what was the role of the financial package in this result. Whatever. By passing this transaction, Christie's has just brilliantly demonstrated that the seller crisis of 2009 is a fact of the past.
The low resolution image below is shared by Wikimedia for fair use :
1964 Andy's Square Quad
2011 SOLD 38.4 M$ including premium
Mrs. Florence Barron loved art and wanted to own a work by Andy Warhol. It happened in 1963 or 1964. The artist already knew fame after the success of his first exhibitions. The negotiated price was $ 1,600.
Andy proposed to portray his client but she was not narcissistic and preferred to invite the artist to realize his self-portrait. He accepted.
He showed his image in four poses inspired by the cheap photos supplied by coin operated booths. Top left and bottom right, he is wise, like on a passport. Of the other two, he raises his head as trying to escape the frame.
This acrylic and silkscreen ink on canvas painted in various shades of blue, overall size 102 x 84 cm, dated 1964, remained for years hung in the Barron living room in Detroit. It had never gone on the market, and is now on sale at Christie's in New York on May 11, with an estimate of $ 20M. The artwork is illustrated on the Reuters release shared by Artdaily.
This quadruple image of an ordinary and expressionless young man in trench coat and tie, his eyes hidden behind dark sunglasses, is not unknown.
On May 10, 2006, Sotheby's sold $ 1.8 million including premium another copy of the position at the top left, 47 x 39 cm, also blue. The catalog stated that nine single-image paintings in this series were known (I assume that this figure does not include the four of the Barron collection).
They have also been published in the late 1970s.
POST SALE COMMENT
Rarity, subject, and also the story about the creation of this multiple make it one of the most remarkable artworks by Warhol. In addition, it was fresh on the market. It was sold for $ 38.4 million including premium.
Andy proposed to portray his client but she was not narcissistic and preferred to invite the artist to realize his self-portrait. He accepted.
He showed his image in four poses inspired by the cheap photos supplied by coin operated booths. Top left and bottom right, he is wise, like on a passport. Of the other two, he raises his head as trying to escape the frame.
This acrylic and silkscreen ink on canvas painted in various shades of blue, overall size 102 x 84 cm, dated 1964, remained for years hung in the Barron living room in Detroit. It had never gone on the market, and is now on sale at Christie's in New York on May 11, with an estimate of $ 20M. The artwork is illustrated on the Reuters release shared by Artdaily.
This quadruple image of an ordinary and expressionless young man in trench coat and tie, his eyes hidden behind dark sunglasses, is not unknown.
On May 10, 2006, Sotheby's sold $ 1.8 million including premium another copy of the position at the top left, 47 x 39 cm, also blue. The catalog stated that nine single-image paintings in this series were known (I assume that this figure does not include the four of the Barron collection).
They have also been published in the late 1970s.
POST SALE COMMENT
Rarity, subject, and also the story about the creation of this multiple make it one of the most remarkable artworks by Warhol. In addition, it was fresh on the market. It was sold for $ 38.4 million including premium.
