Central and South Americas
See also : Women artists Self portrait Self portrait II Man and woman Sport Sport II Sport uniform Textiles Garment Stamps World stamps
Chronology : 1850-1859 1923 1931 1939 1940-1949 1945 1949 1991
Chronology : 1850-1859 1923 1931 1939 1940-1949 1945 1949 1991
1856 British Guiana One Cent Magenta Stamp
2014 SOLD for $ 9.5M by Sotheby's
The invention of the postage stamp in England in 1840 is a revolution in communications. Hitherto limited to shipment operations, the Post Office of British Guiana is one of the first in South America to use stamps and to develop a local delivery, through the diligence of Edward Dalton, a colonial postmaster unwilling to wait for official authorizations.
The first stamps issued by the British Guiana in 1850 are made in black ink by woodcut printing on papers of various colors depending on the face value. The work is done by the printer of the local newspaper. They are so rudimentary that each sold stamp is authenticated by the handwritten initials of the postmaster or of one of his clerks.
These first stamps of 4, 8 and 12 cents are not rare because they have attracted the interest of collectors from the 1870s. These circular or roughly octagonal stamps are nicknamed the cottonreels. An additional cottonreel of 2 cents was issued in 1851. This low value only applied for the local mail inside Georgetown and this variety is extremely rare.
In 1852 the government takes control of operations. Stamps for British Guiana are now lithographed in England. In September 1855, it is a disaster. British agents had misunderstood the order and printed a quantity of stamps ten times lower than needed. Faced with the shortage, Dalton released in 1856 a new series of locally printed British Guiana stamps, with the same rudimentary process as in 1850.
The 4 cents stamp of 1856 to be used for mail is printed on colored paper in four variants, magenta, carmine, blue and double sided blue.
The 1 cent for the postage of newspapers is a lower denomination that had no reason to be kept by users. Only one survived. In poor condition, almost indecipherable, it is magenta in the same shade as one of the 4 cent variants. Collected in 1873 by a schoolboy in the archives of his uncle, it was formally authenticated by an expert in 1891.
This 1 cent magenta 29 x 26 mm British Guiana stamp is the only British variety that escapes the royal collection. Its reverse bears eight marks of prominent owners. Sold for $ 935K by Siegel in 1980, it was already at that time the most expensive stamp in the world.
It was sold twice by Sotheby's : for $ 9.5M on June 17, 2014 and for $ 8.3M on June 8, 2021, lot 3. The image is shared by Wikimedia. Please watch a video shared in 2008 by psychediva.
In June 2014 the other lots from the DuPont collection of British Guiana stamps were sold by David Feldman. The top results before fees were € 160K for a 4 cents from 1850-1851 on a cover, € 190K for a 2 cents from 1851 and € 240K for a blue 4 cents on a cover from 1856.
The first stamps issued by the British Guiana in 1850 are made in black ink by woodcut printing on papers of various colors depending on the face value. The work is done by the printer of the local newspaper. They are so rudimentary that each sold stamp is authenticated by the handwritten initials of the postmaster or of one of his clerks.
These first stamps of 4, 8 and 12 cents are not rare because they have attracted the interest of collectors from the 1870s. These circular or roughly octagonal stamps are nicknamed the cottonreels. An additional cottonreel of 2 cents was issued in 1851. This low value only applied for the local mail inside Georgetown and this variety is extremely rare.
In 1852 the government takes control of operations. Stamps for British Guiana are now lithographed in England. In September 1855, it is a disaster. British agents had misunderstood the order and printed a quantity of stamps ten times lower than needed. Faced with the shortage, Dalton released in 1856 a new series of locally printed British Guiana stamps, with the same rudimentary process as in 1850.
The 4 cents stamp of 1856 to be used for mail is printed on colored paper in four variants, magenta, carmine, blue and double sided blue.
The 1 cent for the postage of newspapers is a lower denomination that had no reason to be kept by users. Only one survived. In poor condition, almost indecipherable, it is magenta in the same shade as one of the 4 cent variants. Collected in 1873 by a schoolboy in the archives of his uncle, it was formally authenticated by an expert in 1891.
This 1 cent magenta 29 x 26 mm British Guiana stamp is the only British variety that escapes the royal collection. Its reverse bears eight marks of prominent owners. Sold for $ 935K by Siegel in 1980, it was already at that time the most expensive stamp in the world.
It was sold twice by Sotheby's : for $ 9.5M on June 17, 2014 and for $ 8.3M on June 8, 2021, lot 3. The image is shared by Wikimedia. Please watch a video shared in 2008 by psychediva.
In June 2014 the other lots from the DuPont collection of British Guiana stamps were sold by David Feldman. The top results before fees were € 160K for a 4 cents from 1850-1851 on a cover, € 190K for a 2 cents from 1851 and € 240K for a blue 4 cents on a cover from 1856.
✉️The British Guiana One-Cent Magenta is thought to be the sole survivor of its kind, created during a stamp shortage in the 1850s and now expected to fetch up to $15 million when it’s auctioned by @Sothebys pic.twitter.com/I57OQ34zkr
— Bloomberg Quicktake (@Quicktake) April 29, 2021
1923 A Caipirinha by Tarsila
2020 SOLD for BRL 57.5M including premium (worth US$ 11.2M) by Bolsa de Arte
narrated post sale in 2020
Tarsila do Amaral was in Paris in 1923. She was enthusiastic about the cosmopolitan desires of the artistic avant-gardes. She is the Brazilian, and more precisely a caipirinha. The caipiras are those people from the tropical countryside who are the laughing stock of city dwellers by their naivety and their appalling accent.
She is influenced by André Lhote's cubism, where the slightly deformed figurative elements are distributed on the canvas without consideration of their respective distances, with a partitioned geometry and simple colors.
On December 17, 2020, Bolsa de Arte sold A Caipirinha, oil on canvas 60 x 81 cm painted by Tarsila in Paris in 1923, for BRL 57.5M including premium, worth US $ 11.2M. Please watch the video shared by the auction house.
The artist expresses the resolutely optimistic happiness of her childhood, when she was making her doll from the leaves collected in front of the farm. This allusion is not directly visible. The character is an adult and the doll is not there, but the symbolic leaf is in the foreground under the hand.
The iconography is bold, with some repetitions with no link in the meaning. The hand with five parallel fingers and the palisade with six boards are similar. The barn door on the right is copied to the left, where it loses its meaning by a position in front of the tree.
In the same period, Tarsila also shakes up the morphologies, without however joining the surrealists. Allusions to rural Brazil dot all her work, through ethnological details, tropical light, farm life. This resolutely regionalist art anticipates the school of Mexico.
She is influenced by André Lhote's cubism, where the slightly deformed figurative elements are distributed on the canvas without consideration of their respective distances, with a partitioned geometry and simple colors.
On December 17, 2020, Bolsa de Arte sold A Caipirinha, oil on canvas 60 x 81 cm painted by Tarsila in Paris in 1923, for BRL 57.5M including premium, worth US $ 11.2M. Please watch the video shared by the auction house.
The artist expresses the resolutely optimistic happiness of her childhood, when she was making her doll from the leaves collected in front of the farm. This allusion is not directly visible. The character is an adult and the doll is not there, but the symbolic leaf is in the foreground under the hand.
The iconography is bold, with some repetitions with no link in the meaning. The hand with five parallel fingers and the palisade with six boards are similar. The barn door on the right is copied to the left, where it loses its meaning by a position in front of the tree.
In the same period, Tarsila also shakes up the morphologies, without however joining the surrealists. Allusions to rural Brazil dot all her work, through ethnological details, tropical light, farm life. This resolutely regionalist art anticipates the school of Mexico.
1931 Mexican Revolution in New York City
2018 SOLD for $ 9.8M including premium
The Mexican muralism was born in 1921 from an observation by Vasconcelos : the people are mostly illiterate but the public image can be as suitable as a writing for propagating the fervor of the Revolution. Orozco, Rivera, Siqueiros and Tamayo create a new art adapted to the socialist ideas.
Out of standards in every meaning of that wording, Diego Riverais uncompromising. His artistic message is communist and anticlerical and he will not change it even under the pressure generated by his provocations.
In New York City, Abby Rockefeller begins in 1925 a collection of modern European art which is not so much supported by her husband but she moves forward. The creation of the Museum of Modern Art in 1929 comes mainly from her personal initiative. She multiplies the actions, including a first solo exhibition which is dedicated to Matisse.
Mexican art shows mostly the people, even if they are confronted with the abuses from the bourgeoisie. Abby, who was also collecting folk art, devotes the second solo exhibition of the MoMA to Rivera in 1931. The thunderous artist had been accused of anti-Soviet activities while working in Moscow and the Mexican Communist Party had fired him. Some recent activities in California showed his interest to the United States.
John D. Rockefeller Jr, Abby's husband, does not see the political trap. In 1933 he commissions some murals for the Rockefeller Center to Rivera. Without warning, Rivera introduces into the picture a portrait of Lenin and categorically refuses to withdraw it despite an attempted negotiation by the young Nelson Rockefeller. The fresco is scrapped but Rivera has achieved his goal of ridiculing the capitalists.
With the invitation of 1931 Abby Rockefeller had commissioned an artwork to Rivera. He completed it during the boat journey to New York. The Rivals, oil on canvas 152 x 127 cm, is about a celebration in Oaxaca. The composition is animated at various distances by groups of characters in traditional clothing, with the shimmering exotic colors that pleased Abby.
The Rivals was given as a wedding present to David and Peggy Rockefeller in 1941. It is estimated $ 5M for sale by Christie's in New York on May 9, lot 424.
Out of standards in every meaning of that wording, Diego Riverais uncompromising. His artistic message is communist and anticlerical and he will not change it even under the pressure generated by his provocations.
In New York City, Abby Rockefeller begins in 1925 a collection of modern European art which is not so much supported by her husband but she moves forward. The creation of the Museum of Modern Art in 1929 comes mainly from her personal initiative. She multiplies the actions, including a first solo exhibition which is dedicated to Matisse.
Mexican art shows mostly the people, even if they are confronted with the abuses from the bourgeoisie. Abby, who was also collecting folk art, devotes the second solo exhibition of the MoMA to Rivera in 1931. The thunderous artist had been accused of anti-Soviet activities while working in Moscow and the Mexican Communist Party had fired him. Some recent activities in California showed his interest to the United States.
John D. Rockefeller Jr, Abby's husband, does not see the political trap. In 1933 he commissions some murals for the Rockefeller Center to Rivera. Without warning, Rivera introduces into the picture a portrait of Lenin and categorically refuses to withdraw it despite an attempted negotiation by the young Nelson Rockefeller. The fresco is scrapped but Rivera has achieved his goal of ridiculing the capitalists.
With the invitation of 1931 Abby Rockefeller had commissioned an artwork to Rivera. He completed it during the boat journey to New York. The Rivals, oil on canvas 152 x 127 cm, is about a celebration in Oaxaca. The composition is animated at various distances by groups of characters in traditional clothing, with the shimmering exotic colors that pleased Abby.
The Rivals was given as a wedding present to David and Peggy Rockefeller in 1941. It is estimated $ 5M for sale by Christie's in New York on May 9, lot 424.
1939 The Doubling of Frida Kahlo
2016 SOLD for $ 8M including premium
The life of Frida Kahlo was always difficult but 1939 was particularly painful and distressing both physically and psychologically. She is 32 years old. Nothing goes right with her husband and idol Diego Rivera who had been accepting her homosexual desires but is jealous of her men.
Frida needs some comforting and eventually considers that she can only find it within herself in a pathetic doubling of her personality. Las Dos Fridas is a double self portrait by the artist commented by herself as a symbol of her loneliness, broken by the fact that the two women are holding their hands.
This artwork helps to understand Dos desnudos en el bosque, oil on metal 25 x 30 cm painted in the same year, estimated $ 8M byChristie's in New York on May 12, lot 21C.
A woman with dark skin is lovingly caressing a lying white woman. They are nude in a calm attitude but in the surrounding of a torrid vegetation loaded with sexual symbols. The sniper monkey plays the role of the male who will not be rejected by this Sapphic couple.
The seated woman has one leg that hangs into a seismic ravine. She fertilizes the soil through her long scarf and an almost imperceptible bleeding. Rooting is a recurring theme of the artist in her search for the mystery of human life and her need for a shelter against all the threats of the world.
The faces are not identifiable and Dos desnudos can be a double self portrait. If this is not the case, one of the women is the first owner of this painting, the Mexican film star Dolores del Río who was probably one of the targets of Frida's bisexuality.
I invite you to watch the video shared by Christie's.
Frida needs some comforting and eventually considers that she can only find it within herself in a pathetic doubling of her personality. Las Dos Fridas is a double self portrait by the artist commented by herself as a symbol of her loneliness, broken by the fact that the two women are holding their hands.
This artwork helps to understand Dos desnudos en el bosque, oil on metal 25 x 30 cm painted in the same year, estimated $ 8M byChristie's in New York on May 12, lot 21C.
A woman with dark skin is lovingly caressing a lying white woman. They are nude in a calm attitude but in the surrounding of a torrid vegetation loaded with sexual symbols. The sniper monkey plays the role of the male who will not be rejected by this Sapphic couple.
The seated woman has one leg that hangs into a seismic ravine. She fertilizes the soil through her long scarf and an almost imperceptible bleeding. Rooting is a recurring theme of the artist in her search for the mystery of human life and her need for a shelter against all the threats of the world.
The faces are not identifiable and Dos desnudos can be a double self portrait. If this is not the case, one of the women is the first owner of this painting, the Mexican film star Dolores del Río who was probably one of the targets of Frida's bisexuality.
I invite you to watch the video shared by Christie's.
1943 The Freed Jungle of Wifredo Lam
2020 SOLD for $ 9.6M including premium
Wifredo Lam lived in Spain from 1923 to 1938. He felt close to Goya's social revolt and participated in the Spanish War. Between the defeat of the Republicans and the defeat of France in June 1940, he was in Paris where he appropriated the intense desire for freedom and poetry of the artistic avant-gardes. Picasso, who indeed did not like having rivals, openly approved the young artist.
Lam then decides to return to his native island, Cuba. He makes a stopover in Fort-de-France where his meeting with Aimé Césaire reinforces his rejection of colonialism and slavery.
The atheist Cuban with Chinese, Congolese and Spanish ancestry will now paint the freedom of the Third World. He stages his personal surrealist world in a dense jungle which he populates with gods of weird morphology. La Jungla, 240 x 230 cm gouache made in 1943, hides four dehumanized beings in a dense pattern of sugar canes.
On June 29 in New York, Sotheby's sells Omi Obini, oil on canvas 183 x 125 cm also painted in 1943, lot 1008 estimated $ 8M. The title designates the Yoruba goddess of water entrusted for fertilizing the earth. Readability is not immediate, marking the influence of analytical cubism or futurism.
In the colored jungle, some paler areas appear, constituting an ethereal humanoid form. The head is a crescent moon and it will not be known whether the figure in the foreground is a pet or a chair. Two of the berries have each a pair of eyes that are threats or reflections.
Lam then decides to return to his native island, Cuba. He makes a stopover in Fort-de-France where his meeting with Aimé Césaire reinforces his rejection of colonialism and slavery.
The atheist Cuban with Chinese, Congolese and Spanish ancestry will now paint the freedom of the Third World. He stages his personal surrealist world in a dense jungle which he populates with gods of weird morphology. La Jungla, 240 x 230 cm gouache made in 1943, hides four dehumanized beings in a dense pattern of sugar canes.
On June 29 in New York, Sotheby's sells Omi Obini, oil on canvas 183 x 125 cm also painted in 1943, lot 1008 estimated $ 8M. The title designates the Yoruba goddess of water entrusted for fertilizing the earth. Readability is not immediate, marking the influence of analytical cubism or futurism.
In the colored jungle, some paler areas appear, constituting an ethereal humanoid form. The head is a crescent moon and it will not be known whether the figure in the foreground is a pet or a chair. Two of the berries have each a pair of eyes that are threats or reflections.
1945 Trovador by Tamayo
2008 SOLD for $ 7.2M including premium by Christie's
1949 Diego y yo by Kahlo
2021 SOLD for $ 35M by Sotheby's
Frida Kahlo suffered a lifelong intense pain in her back after an accident. She courageously faced her condition by her art and by her quest for a passion out of the ordinary, including political commitment and bisexuality. She found her partner, unfaithful husband and accomplice in the Communist artist Diego Rivera, 20 years older than her.
Kahlo's art is made of metaphors and symbols with a high poetry. A friend of the Surrealists, she nevertheless insisted to state that she was not representing her dreams but her reality. 55 of her ca 143 paintings are self portraits.
Eager to exchange an empathy, she often made and inscribed self portraits for friends : Trotsky, her doctors. On November 16, 2021, Sotheby's sold such a self portrait for $ 35M, lot 12. This oil on masonite 30 x 22 cm painted in 1949 is dedicated to Florence and Sam, a couple of friends who were instrumental in promoting her art. Please watch the video shared by the auction house.
The piece was titled Diego y yo by the artist. It displays the portrait in bust of Diego Rivera on the forehead, fully centered between eyebrows and hair. This figure has at the same place the third eye of wisdom. The intimate theme of this self portrait is indeed her obsession for Diego. Three tears flow on her cheeks.
A self portrait executed in 1954, the year of her untimely death, is in the same inspiration, with the image of Diego on the breast and of her rival Maria between the eyebrows.
Kahlo's art is made of metaphors and symbols with a high poetry. A friend of the Surrealists, she nevertheless insisted to state that she was not representing her dreams but her reality. 55 of her ca 143 paintings are self portraits.
Eager to exchange an empathy, she often made and inscribed self portraits for friends : Trotsky, her doctors. On November 16, 2021, Sotheby's sold such a self portrait for $ 35M, lot 12. This oil on masonite 30 x 22 cm painted in 1949 is dedicated to Florence and Sam, a couple of friends who were instrumental in promoting her art. Please watch the video shared by the auction house.
The piece was titled Diego y yo by the artist. It displays the portrait in bust of Diego Rivera on the forehead, fully centered between eyebrows and hair. This figure has at the same place the third eye of wisdom. The intimate theme of this self portrait is indeed her obsession for Diego. Three tears flow on her cheeks.
A self portrait executed in 1954, the year of her untimely death, is in the same inspiration, with the image of Diego on the breast and of her rival Maria between the eyebrows.
1950 Portrait of Columba by Rivera
2021 SOLD for $ 7.4M by Sotheby's
Link to catalogue.
1955 Tamayo painted the Wall of the Americas
2008 SOLD 6.8 M$ including premium
The art sales of this fall in New York are not finished. On November 18, Sotheby's manages a sale of Latin American art, whose undisputed star is a mural of Rufino Tamayo, lot 12.
Entitled America, this vinylite on canvas of 4 x 14 meters is a monument in every sense. It was made in 1955 on order from a bank of Houston. Tamayo did only five murals for the United States, and it is the only one still in private hands. He spent five months to achieve it, alone, working everyday. It is amusing to note that he had to seek a workshop in Mexico City, because his own was too small.
The result is an explosion of color that photographic reproductions return certainly wrongly. The subject is a tangle of many symbols of American continents.
The press release, no doubt influenced by the very long format, compares America to Picasso's Guernica. On one side black and war, on the other color and abundance, but the symbolic and allegorical profusion is the same.
This one of a kind work is estimated $ 7 million. On May 28 at Christie's, an oil on canvas 153 x 127 cm showing a street singer (Trovador) tripled its estimate at $ 7.2 million including expenses.
POST SALE COMMENT
It was not won in advance, and it was a success. $ 6.8 million charge included.
It is interesting to note that despite its size America was paid less than the Trovador, a much more intimate work.
Buyers would have a heart?
Entitled America, this vinylite on canvas of 4 x 14 meters is a monument in every sense. It was made in 1955 on order from a bank of Houston. Tamayo did only five murals for the United States, and it is the only one still in private hands. He spent five months to achieve it, alone, working everyday. It is amusing to note that he had to seek a workshop in Mexico City, because his own was too small.
The result is an explosion of color that photographic reproductions return certainly wrongly. The subject is a tangle of many symbols of American continents.
The press release, no doubt influenced by the very long format, compares America to Picasso's Guernica. On one side black and war, on the other color and abundance, but the symbolic and allegorical profusion is the same.
This one of a kind work is estimated $ 7 million. On May 28 at Christie's, an oil on canvas 153 x 127 cm showing a street singer (Trovador) tripled its estimate at $ 7.2 million including expenses.
POST SALE COMMENT
It was not won in advance, and it was a success. $ 6.8 million charge included.
It is interesting to note that despite its size America was paid less than the Trovador, a much more intimate work.
Buyers would have a heart?
1956 Armonia by Remedios Varo
2020 SOLD for $ 6.2M including premium by Sotheby's
narrated post sale in 2020
The art of Remedios Varo is surreal, with a subtle neo-medieval atmosphere. She incorporates contradictions and aberrations into finely drawn figures, bringing occultism and alchemy amid an apparent realism. Many of her paintings are self-portraits, in which she is recognizable by a too short chin.
On June 30, 2020, Sotheby's sold at lot 1004 for $ 6.2M including premium from a lower estimate of $ 2M an oil on masonite 75 x 93 cm painted in 1956, titled Armonia (Autorretrato sugerente).
The artist's studio takes the form of a Romanesque chapel. The woman is sitting on a stool in front of a table. Without paying attention, she threads small objects onto a musical stave that has taken the function of a pattern of ropes, in front of a wall figure that appears like a life-size monochrome self-portrait.
The workshop layout is symmetrical, with another monochrome figure and another stave on the right side of the room. In this place, the stave is perpendicular to the wall figure, whose hand shoots out of the frame to catch a threaded object.
Now that the attention is drawn to these artefacts, we find that they are everywhere, indefinable and transparent, sometimes vegetated : they are disgorging from hatches in the floor and overflowing from drawers, chests and even the bidet. A grimoire which is perhaps an antiphonary is opened in front of the clef. This woman who seemed modern is a witch, claimed in the subtitle as a self-portrait. In the door, a bird in flight escapes this surreal madness.
On June 30, 2020, Sotheby's sold at lot 1004 for $ 6.2M including premium from a lower estimate of $ 2M an oil on masonite 75 x 93 cm painted in 1956, titled Armonia (Autorretrato sugerente).
The artist's studio takes the form of a Romanesque chapel. The woman is sitting on a stool in front of a table. Without paying attention, she threads small objects onto a musical stave that has taken the function of a pattern of ropes, in front of a wall figure that appears like a life-size monochrome self-portrait.
The workshop layout is symmetrical, with another monochrome figure and another stave on the right side of the room. In this place, the stave is perpendicular to the wall figure, whose hand shoots out of the frame to catch a threaded object.
Now that the attention is drawn to these artefacts, we find that they are everywhere, indefinable and transparent, sometimes vegetated : they are disgorging from hatches in the floor and overflowing from drawers, chests and even the bidet. A grimoire which is perhaps an antiphonary is opened in front of the clef. This woman who seemed modern is a witch, claimed in the subtitle as a self-portrait. In the door, a bird in flight escapes this surreal madness.
1986 Diego Maradona Shirt
2022 SOLD for £ 7.1M by Sotheby's
On June 22, 1986, a quarterfinal of the FIFA World Cup was played in Mexico City between Argentina and England. The Argentinians led by their 25 year old captain Diego Maradona minded it like a revenge after the 1982 Falklands War.
Maradona scored within four minutes at the beginning of the second half two goals that were to become legendary for opposite reasons.
He opened the score with a goal helped by his hand. At that time when no video support was available for the referees, the point was declared as valid in an atmosphere of triumph supported by Maradona's spectacular celebration. Fully aware of his mischief, Maradona commented in the post game press conference that he made the goal “un poco con la cabeza de Maradona y otro poco con la mano de Dios".
The decisive goal of the match was scored by Maradona four minutes after the Hand of God. This one is a great demonstration of Maradona's superior dribbling skills as he had been able to pass four defenders in a run of half the length of the pitch. It will referred in 2002 as The Goal of the Century and described as the greatest individual goal of all time. The image of Diego celebrating that feat is shared by Wikimedia.
A later English goal put the final score to 2-1.
Steve Hodge had been involved as an English defender in both Maradona's winning actions. He managed to swap his shirt for Maradona's in the changing room. Please watch the interview shared by Goal of Steve Hodge as 'the Man with Maradona's shirt of God'.
Maradona's shirt of the Hand of God and the Goal of the Century was loaned from 2002 by Hodge to the National Football Museum in Manchester. It was then consigned by him to Sotheby's who commissioned conclusively to Resolution Photomatching the photo-matching with the quarterfinal. It was sold for £ 7.1M from a lower estimate of £ 4M on May 4, 2022, lot 1.
Maradona scored within four minutes at the beginning of the second half two goals that were to become legendary for opposite reasons.
He opened the score with a goal helped by his hand. At that time when no video support was available for the referees, the point was declared as valid in an atmosphere of triumph supported by Maradona's spectacular celebration. Fully aware of his mischief, Maradona commented in the post game press conference that he made the goal “un poco con la cabeza de Maradona y otro poco con la mano de Dios".
The decisive goal of the match was scored by Maradona four minutes after the Hand of God. This one is a great demonstration of Maradona's superior dribbling skills as he had been able to pass four defenders in a run of half the length of the pitch. It will referred in 2002 as The Goal of the Century and described as the greatest individual goal of all time. The image of Diego celebrating that feat is shared by Wikimedia.
A later English goal put the final score to 2-1.
Steve Hodge had been involved as an English defender in both Maradona's winning actions. He managed to swap his shirt for Maradona's in the changing room. Please watch the interview shared by Goal of Steve Hodge as 'the Man with Maradona's shirt of God'.
Maradona's shirt of the Hand of God and the Goal of the Century was loaned from 2002 by Hodge to the National Football Museum in Manchester. It was then consigned by him to Sotheby's who commissioned conclusively to Resolution Photomatching the photo-matching with the quarterfinal. It was sold for £ 7.1M from a lower estimate of £ 4M on May 4, 2022, lot 1.
1991 The Endless Art of Gonzalez-Torres
2015 SOLD for $ 7.7M including premium
The contemporary art gradually leaves the references to painting, sculpture and object. The installations invite the viewer for participation and modification. The Cuban born artist Felix Gonzalez-Torres offers a synthesis between minimalism and accumulation, after Donald Judd and Carl Andre, before Ai Weiwei.
Homosexual activist, Gonzalez-Torres conceives his work as a sharing. Going up to a logical consequence of his approach, he states that a certificate of authenticity must be re-issued every time the work changes ownership. He provides the starting point of the element to accumulate, which the user may decrease or increase. The curator of the exhibition is invited to change at will the overall shape, after the anti-art sculptures by Lygia Clark.
In 1991, Gonzalez-Torres's creativity is exacerbated by the final AIDS of his partner which arouses in him some humanist thoughts. The artist will die of the same disease five years later.
An example is the stack of identical prints 72 x 109 cm that can be copied at will and to which the artist suggests an ideal height of 8 inches. This work was sold for $ 1.65M including premium by Sotheby's on May 10, 2011.
The accumulation of candies individually wrapped in their cellophane paper is the ultimate refinement of the art of Gonzalez-Torres and his most demanded theme on the art market. The removal of an element brings to the maker of the action the noise of the unwrapping and the sweet taste of the candy.
A work in light blue paper executed in 1992 with an ideal weight of 90 kg was sold for $ 4.6 million including premium by Phillips de Pury on 8 November 2010. Another variant carried out in 1991 in green paper with an ideal weight of 50 pounds is estimated $ 5M for sale by Christie's in New York on November 10, lot 43B.
Homosexual activist, Gonzalez-Torres conceives his work as a sharing. Going up to a logical consequence of his approach, he states that a certificate of authenticity must be re-issued every time the work changes ownership. He provides the starting point of the element to accumulate, which the user may decrease or increase. The curator of the exhibition is invited to change at will the overall shape, after the anti-art sculptures by Lygia Clark.
In 1991, Gonzalez-Torres's creativity is exacerbated by the final AIDS of his partner which arouses in him some humanist thoughts. The artist will die of the same disease five years later.
An example is the stack of identical prints 72 x 109 cm that can be copied at will and to which the artist suggests an ideal height of 8 inches. This work was sold for $ 1.65M including premium by Sotheby's on May 10, 2011.
The accumulation of candies individually wrapped in their cellophane paper is the ultimate refinement of the art of Gonzalez-Torres and his most demanded theme on the art market. The removal of an element brings to the maker of the action the noise of the unwrapping and the sweet taste of the candy.
A work in light blue paper executed in 1992 with an ideal weight of 90 kg was sold for $ 4.6 million including premium by Phillips de Pury on 8 November 2010. Another variant carried out in 1991 in green paper with an ideal weight of 50 pounds is estimated $ 5M for sale by Christie's in New York on November 10, lot 43B.
