Decade 1940-1949
Except otherwise stated, all results include the premium.
See also : Top 10 Women artists Sculpture Art on paper Abstract art II The Man Self portrait Self portrait II Man and woman Animals Bird Cats and lions Still Pollock Picasso Picasso 1940-1960 Giacometti Giacometti 1947-53 Central and South Americas Mexico China Mountains in China Qi Baishi Zhang Daqian Zhang Daqian < 1965 Modern China
See also : Top 10 Women artists Sculpture Art on paper Abstract art II The Man Self portrait Self portrait II Man and woman Animals Bird Cats and lions Still Pollock Picasso Picasso 1940-1960 Giacometti Giacometti 1947-53 Central and South Americas Mexico China Mountains in China Qi Baishi Zhang Daqian Zhang Daqian < 1965 Modern China
KAHLO
1
1940 El Sueno (La Carna)
2025 SOLD for $ 55M by Sotheby's
El sueño (La cama), oil on canvas 74 x 98 cm painted in 1940 by Frida Kahlo in 1940, was sold for $ 55M from a lower estimate of $ 40M for sale by Sotheby's on November 20, 2025, lot 13. Please watch the video shared by the auction house.
Asking Grok its significance in the career of the artist.
Grok thought :
Frida Kahlo's El sueño (La cama) (The Dream [The Bed]), painted in 1940, is a poignant self-portrait that encapsulates key themes in her oeuvre, including mortality, the interplay between life and death, personal suffering, and dreamlike surrealism. Measuring 74 by 98 cm and executed in oil on canvas, the work depicts Kahlo asleep in a bed floating amid clouds, her body partially entwined in thorny vines that evoke both growth and entrapment. Above her, on the bed's canopy, lies a life-sized papier-mâché skeleton (a "Judas" figure from Mexican folk tradition, which Kahlo kept in her real bedroom as a memento mori), rigged with dynamite and a lit fuse—symbolizing imminent danger and the fragility of existence. This juxtaposition of serene repose below and explosive peril above reflects Kahlo's lifelong preoccupation with death, informed by her chronic pain from a 1925 bus accident, multiple surgeries, miscarriages, and emotional turmoil.
In the context of Kahlo's career, El sueño (La cama) marks a significant moment during a period of intense personal upheaval and artistic evolution. Created shortly after her 1939 divorce from Diego Rivera (whom she remarried later in 1940) and amid her affair with Leon Trotsky, who was assassinated that year, the painting channels her psychological and physical anguish into a deeply introspective narrative. It exemplifies her shift toward more symbolic, introspective works in the late 1930s and early 1940s, blending autobiographical elements with Mexican cultural motifs and surrealist influences—though Kahlo famously rejected the Surrealist label, insisting her art depicted her reality. This piece stands out as one of her most intimate explorations of vulnerability, where the bed (a recurring motif representing confinement due to her health issues) becomes a stage for confronting mortality while asserting life's persistence through natural imagery like vines.
The painting's importance is underscored by its extensive exhibition history, including major retrospectives at Tate Modern (2005), the Walker Art Center (2007-08), and the Guggenheim Museum (1999), as well as its inclusion in seminal publications like Hayden Herrera's Frida Kahlo: The Paintings (1991) and Luis-Martín Lozano's The Complete Paintings of Frida Kahlo (2021), where it has even graced book covers. It has been analyzed as a testament to Kahlo's resilience, transforming personal trauma into universal symbols of human fragility. Provenance traces back to Galería Misrachi in Mexico City, with ownership passing through private collections before its last auction at Sotheby's in 1980; its reappearance at Sotheby's Exquisite Corpus Evening Auction on November 20, 2025 (lot 13, estimated at $40-60 million), highlights its rarity and market value, potentially shattering her auction record and affirming her status as a 20th-century icon.
Pre sale Grok thought :
Quote
Sotheby's @Sothebys Sep 19
More than 80 Surrealist treasures from a Private Collection are coming to The New York Sales in November—including Frida Kahlo’s intimate self-portrait that is poised to set a new auction record. https://bit.ly/4mo8kGU
Asking Grok its significance in the career of the artist.
Grok thought :
Frida Kahlo's El sueño (La cama) (The Dream [The Bed]), painted in 1940, is a poignant self-portrait that encapsulates key themes in her oeuvre, including mortality, the interplay between life and death, personal suffering, and dreamlike surrealism. Measuring 74 by 98 cm and executed in oil on canvas, the work depicts Kahlo asleep in a bed floating amid clouds, her body partially entwined in thorny vines that evoke both growth and entrapment. Above her, on the bed's canopy, lies a life-sized papier-mâché skeleton (a "Judas" figure from Mexican folk tradition, which Kahlo kept in her real bedroom as a memento mori), rigged with dynamite and a lit fuse—symbolizing imminent danger and the fragility of existence. This juxtaposition of serene repose below and explosive peril above reflects Kahlo's lifelong preoccupation with death, informed by her chronic pain from a 1925 bus accident, multiple surgeries, miscarriages, and emotional turmoil.
In the context of Kahlo's career, El sueño (La cama) marks a significant moment during a period of intense personal upheaval and artistic evolution. Created shortly after her 1939 divorce from Diego Rivera (whom she remarried later in 1940) and amid her affair with Leon Trotsky, who was assassinated that year, the painting channels her psychological and physical anguish into a deeply introspective narrative. It exemplifies her shift toward more symbolic, introspective works in the late 1930s and early 1940s, blending autobiographical elements with Mexican cultural motifs and surrealist influences—though Kahlo famously rejected the Surrealist label, insisting her art depicted her reality. This piece stands out as one of her most intimate explorations of vulnerability, where the bed (a recurring motif representing confinement due to her health issues) becomes a stage for confronting mortality while asserting life's persistence through natural imagery like vines.
The painting's importance is underscored by its extensive exhibition history, including major retrospectives at Tate Modern (2005), the Walker Art Center (2007-08), and the Guggenheim Museum (1999), as well as its inclusion in seminal publications like Hayden Herrera's Frida Kahlo: The Paintings (1991) and Luis-Martín Lozano's The Complete Paintings of Frida Kahlo (2021), where it has even graced book covers. It has been analyzed as a testament to Kahlo's resilience, transforming personal trauma into universal symbols of human fragility. Provenance traces back to Galería Misrachi in Mexico City, with ownership passing through private collections before its last auction at Sotheby's in 1980; its reappearance at Sotheby's Exquisite Corpus Evening Auction on November 20, 2025 (lot 13, estimated at $40-60 million), highlights its rarity and market value, potentially shattering her auction record and affirming her status as a 20th-century icon.
Pre sale Grok thought :
Quote
Sotheby's @Sothebys Sep 19
More than 80 Surrealist treasures from a Private Collection are coming to The New York Sales in November—including Frida Kahlo’s intimate self-portrait that is poised to set a new auction record. https://bit.ly/4mo8kGU
- Sotheby's post highlights the upcoming "Exquisite Corpus" auction in New York on November 20-21, 2025, showcasing over 80 Surrealist works from a private collection, emphasizing psychological depth in 20th-century art.
- The centerpiece is Frida Kahlo's 1940 oil "El sueño (La cama)", a dreamlike self-portrait of the artist asleep on a bed atop a barren landscape, carrying a $40-60 million estimate that could shatter her prior $34.9 million record and top the $44.4 million benchmark for any female artist.
- Amid rising demand for women-led Surrealism, the sale includes pieces by Miró, Picasso, and Kandinsky, providing collectors access to rare modernist narratives on identity and the subconscious.
'El sueño (La cama)' by Frida Kahlo soars to $54.7 million, becoming the most valuable work by a woman artist ever sold at auction.
— Sotheby's (@Sothebys) November 21, 2025
Painted in 1940 during a pivotal decade in her career, marked by her turbulent relationship with Diego Rivera. pic.twitter.com/t6Sni7fIKT
2
1949 Diego y yo
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.
Grok thought :
Quote
Sotheby's @Sothebys Nov 17, 2021
#AuctionUpdate: Frida Kahlo’s 1949 self-portrait ‘Diego y yo (Diego and I)’ soars to $34.9M, smashing the artist’s previous $8 million public auction record. This enigmatic work is Kahlo’s final ‘bust’ self-portrait completed before her death in 1954.
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.
Grok thought :
Quote
Sotheby's @Sothebys Nov 17, 2021
#AuctionUpdate: Frida Kahlo’s 1949 self-portrait ‘Diego y yo (Diego and I)’ soars to $34.9M, smashing the artist’s previous $8 million public auction record. This enigmatic work is Kahlo’s final ‘bust’ self-portrait completed before her death in 1954.
- Sotheby's 2021 post celebrates the $34.9 million auction sale of Frida Kahlo's 1949 oil-on-masonite self-portrait "Diego y yo," depicting Kahlo with tears and Diego Rivera's face emerging from her forehead, symbolizing her enduring emotional turmoil in their marriage.
- The work, Kahlo's last bust-length self-portrait before her 1954 death from health complications, shattered her prior $8 million record and was consigned by the Oppenheimer family after decades in private collection.
- As of November 2025, this sale's record has been eclipsed by Kahlo's "El sueño (La cama)" fetching $54.7 million at Sotheby's, marking the highest price for any artwork by a woman at public auction.
#AuctionUpdate: Frida Kahlo’s 1949 self-portrait ‘Diego y yo (Diego and I)’ soars to $34.9M, smashing the artist’s previous $8 million public auction record. This enigmatic work is Kahlo’s final ‘bust’ self-portrait completed before her death in 1954. pic.twitter.com/NVJZ3c8FOV
— Sotheby's (@Sothebys) November 17, 2021
PICASSO
1
1941 Dora Maar au Chat
2006 SOLD for $ 95M by Sotheby's
Pablo Picasso once said that Dora Maar had personified the war. This is certainly an exaggeration following their breakup. It remains true that Pablo was reading the evolution of the horrors of war in the attitude and expression of the hypersensitive Dora.
From Guernica to the Nazi Occupation, Dora Maar is indeed a Cassandra for Picasso. He chose in 1940 to refuse the exile and stay working in his studio of the rue des Grands Augustins but he knew that he was threatened by the new authorities. He lives in lockdown with his muse, whom he adores physically but who once again becomes the symbol of resistance to horror, or even quite simply the symbol of horror.
Dora inevitably becomes his only model and his main theme. A drawing 27 x 22 cm sold for € 52K by Sotheby's on December 7, 2016 is typical of this morbid drift. Dora's face is a double blister where nose and mouth take divergent directions. The time when the cubist use of a double angle of view provided another vigor to the image is over.
Picasso marks his instability in an unusual way by changing the date of the drawing by an erasure, from May 7, 1941 to June 7, 1941. He no longer controls time. We will not know if Dora Maar au Chat, featuring the animal which symbolizes the dangers of the outside world, was painted before or after this anxious frenzy of June 1941.
Dora Maar au Chat is an oil on canvas 130 x 97 cm painted by Picasso in 1941. Among the many portraits that Picasso made of his mistress, it is one of the most meticulous, with vibrant colors.
Contrary to the artist's usual practice, it is dated by the year without indication of the day, thus appearing beside the rest of the work. Picasso gathered here his admiration and emotion in front of Dora. He emotionally departed from Dora in 1943 and from this specific painting before 1947.
Throughout Picasso's career, the excessively abundant work is dotted with some dazzling illuminations in which he expresses his deep feelings. Dora Maar au Chat is one of these masterpieces, alongside for example Le Garçon à la pipe, Les Demoiselles d'Avignon, La Minotauromachie, La Femme qui pleure and Les Femmes d'Alger.
It is war time. The armchair is a space that might seem open but is in fact an obstacle to freedom, like the throne of Innocent X by Velazquez. Dora is willing to react, with her elegant clothes and her big hat as for going out. She smiles.
And then there is the cat. It is very small. Perched on the back of the chair, it walks towards the woman who does not care at all about it. Black in the least contrasted part of the image, it is sneaky. Pablo and Dora did not like cats, these pets that scratch for a simple change of mood. They preferred dogs. For these reasons this tiny cat cannot be a personification of the artist. It is at best an unsolicited visitor, at worst the danger of the outside world.
The amalgamation between human and animal interested Picasso. In the same phase, he paints portraits of Dora with the muzzle of their Afghan hound. Here Dora's very long nails are in some way the claws of the cat.
Dora Maar au Chat was sold for $ 95M by Sotheby's on May 3, 2006, lot 14.
Dora Maar au Chat was not dated to the month and day by the artist. It is regrettable because the sequence of events of the German occupation and of the Vichy regime generates an increasing anxiety. Picasso's dealer in Paris, Daniel-Henry Kahnweiler, is a Jew who had lost the French nationality by the decrees of July 1940. On June 13, 1941 the French government begins the deportation of the Jews. On July 1, as a precaution, Kahnweiler sells his gallery to the daughter of his wife, Louise Leiris.
On November 20, 2019, Heffel sold at lot 136 for $ 9.2M CAD a Tête later titled Femme au Chapeau. oil on canvas 61 x 38 cm dated in that bad June 13, 1941, Her expression, difficult to read within Picasso's multi-perspective style, seems rigid. The bleak white of the chair's structure dominates the composition. The article shared by CTV News includes a video with the participation of David Heffel.
The new configuration of Dora's face responds to the anxieties of Picasso, who has decidedly little respect for Dora. He begins a series of oils on canvas on which Dora's other usual attributes are maintained : the long black hair, the extravagant hat, the smile despite adversity.
He locks her up in an armchair which will symbolize freedom if one day she manages to escape and which anticipates the powerless Popes of Bacon. The nose, which takes its autonomy in this disaster, has been compared to a dog's muzzle or an elephant's trunk.
Another sign of the hard times is the ordinary style of the seat, making bringing the assumption that the comfortable armchair of the smiling Femme au chat had been painted before that dark phase of June 1941.
That series may be viewed as a counter-attack by Picasso against Matisse's Femme au chapeau of 1905, featuring Mme Matisse, which had been an excuse for an explosion of colors.
Femme dans un fauteuil, oil on canvas 130 x 97 cm painted on June 19, 1941, was sold for $ 29.6M by Christie's on October 6, 2020, lot 8.
June 19, 1941, just over a year into the Nazi Occupation of Paris, was a prolific day for Pablo Picasso. In addition to the Femme assise dans un fauteuil sold by Christie's for $ 19.6M, he also painted an oil on canvas of smaller size, 100 x 81 cm, featuring the same woman in the same armchair, seated in profile instead of full front. The smile disappeared and the hands are torn in the anxiety and restrictions of the Occupation. This Femme dans un fauteuil was sold for $ 17.2M by Christie's on May 13, 2021, lot 32 B.
Grok thought :
Quote
Clown @ClownsTrenches Apr 27
Dora Maar au Chat – Pablo Picasso Price: $95.2 million (2006, Sotheby’s Auction)
From Guernica to the Nazi Occupation, Dora Maar is indeed a Cassandra for Picasso. He chose in 1940 to refuse the exile and stay working in his studio of the rue des Grands Augustins but he knew that he was threatened by the new authorities. He lives in lockdown with his muse, whom he adores physically but who once again becomes the symbol of resistance to horror, or even quite simply the symbol of horror.
Dora inevitably becomes his only model and his main theme. A drawing 27 x 22 cm sold for € 52K by Sotheby's on December 7, 2016 is typical of this morbid drift. Dora's face is a double blister where nose and mouth take divergent directions. The time when the cubist use of a double angle of view provided another vigor to the image is over.
Picasso marks his instability in an unusual way by changing the date of the drawing by an erasure, from May 7, 1941 to June 7, 1941. He no longer controls time. We will not know if Dora Maar au Chat, featuring the animal which symbolizes the dangers of the outside world, was painted before or after this anxious frenzy of June 1941.
Dora Maar au Chat is an oil on canvas 130 x 97 cm painted by Picasso in 1941. Among the many portraits that Picasso made of his mistress, it is one of the most meticulous, with vibrant colors.
Contrary to the artist's usual practice, it is dated by the year without indication of the day, thus appearing beside the rest of the work. Picasso gathered here his admiration and emotion in front of Dora. He emotionally departed from Dora in 1943 and from this specific painting before 1947.
Throughout Picasso's career, the excessively abundant work is dotted with some dazzling illuminations in which he expresses his deep feelings. Dora Maar au Chat is one of these masterpieces, alongside for example Le Garçon à la pipe, Les Demoiselles d'Avignon, La Minotauromachie, La Femme qui pleure and Les Femmes d'Alger.
It is war time. The armchair is a space that might seem open but is in fact an obstacle to freedom, like the throne of Innocent X by Velazquez. Dora is willing to react, with her elegant clothes and her big hat as for going out. She smiles.
And then there is the cat. It is very small. Perched on the back of the chair, it walks towards the woman who does not care at all about it. Black in the least contrasted part of the image, it is sneaky. Pablo and Dora did not like cats, these pets that scratch for a simple change of mood. They preferred dogs. For these reasons this tiny cat cannot be a personification of the artist. It is at best an unsolicited visitor, at worst the danger of the outside world.
The amalgamation between human and animal interested Picasso. In the same phase, he paints portraits of Dora with the muzzle of their Afghan hound. Here Dora's very long nails are in some way the claws of the cat.
Dora Maar au Chat was sold for $ 95M by Sotheby's on May 3, 2006, lot 14.
Dora Maar au Chat was not dated to the month and day by the artist. It is regrettable because the sequence of events of the German occupation and of the Vichy regime generates an increasing anxiety. Picasso's dealer in Paris, Daniel-Henry Kahnweiler, is a Jew who had lost the French nationality by the decrees of July 1940. On June 13, 1941 the French government begins the deportation of the Jews. On July 1, as a precaution, Kahnweiler sells his gallery to the daughter of his wife, Louise Leiris.
On November 20, 2019, Heffel sold at lot 136 for $ 9.2M CAD a Tête later titled Femme au Chapeau. oil on canvas 61 x 38 cm dated in that bad June 13, 1941, Her expression, difficult to read within Picasso's multi-perspective style, seems rigid. The bleak white of the chair's structure dominates the composition. The article shared by CTV News includes a video with the participation of David Heffel.
The new configuration of Dora's face responds to the anxieties of Picasso, who has decidedly little respect for Dora. He begins a series of oils on canvas on which Dora's other usual attributes are maintained : the long black hair, the extravagant hat, the smile despite adversity.
He locks her up in an armchair which will symbolize freedom if one day she manages to escape and which anticipates the powerless Popes of Bacon. The nose, which takes its autonomy in this disaster, has been compared to a dog's muzzle or an elephant's trunk.
Another sign of the hard times is the ordinary style of the seat, making bringing the assumption that the comfortable armchair of the smiling Femme au chat had been painted before that dark phase of June 1941.
That series may be viewed as a counter-attack by Picasso against Matisse's Femme au chapeau of 1905, featuring Mme Matisse, which had been an excuse for an explosion of colors.
Femme dans un fauteuil, oil on canvas 130 x 97 cm painted on June 19, 1941, was sold for $ 29.6M by Christie's on October 6, 2020, lot 8.
June 19, 1941, just over a year into the Nazi Occupation of Paris, was a prolific day for Pablo Picasso. In addition to the Femme assise dans un fauteuil sold by Christie's for $ 19.6M, he also painted an oil on canvas of smaller size, 100 x 81 cm, featuring the same woman in the same armchair, seated in profile instead of full front. The smile disappeared and the hands are torn in the anxiety and restrictions of the Occupation. This Femme dans un fauteuil was sold for $ 17.2M by Christie's on May 13, 2021, lot 32 B.
Grok thought :
Quote
Clown @ClownsTrenches Apr 27
Dora Maar au Chat – Pablo Picasso Price: $95.2 million (2006, Sotheby’s Auction)
- This X post highlights Pablo Picasso's 1941 cubist portrait "Dora Maar au Chat," depicting his muse with a cat in distorted, vibrant forms, reflecting her emotional turmoil during World War II.
- The artwork fetched $95.2 million at Sotheby's in 2006, a record for modern art then, bought anonymously after decades in private collection.
2
1943 Buste de Femme au Chapeau à Fleurs
2025 SOLD for € 32M by Lucien (Paris)
Buste de Femme au Chapeau à Fleurs, featuring Dora, was painted by Picasso on July 11, 1943. This oil on canvas 81 x 60 cm is estimated € 8M for sale by Lucien (Paris) on October 24, 2025, lot 1.
Grok thoughts :
Immediate post sale
Quote
Drouot @Drouot
Présentée aux enchères par la maison de ventes Lucien Paris, La “femme au chapeau à fleurs (Dora Maar)” a été adjugée 32 millions d’euros ce vendredi 24 octobre à l’Hôtel Drouot au terme d’une longue bataille d’enchères entre 18 enchérisseurs internationaux.
Pre sale
Quote
Artnet @artnet Sep 20
#ArtnetNews: A Pablo Picasso portrait of his lover, artist Dora Maar, is going on public view for the first time and is headed to the auction block after eight decades in the collection of the same family that purchased it in 1944. Painted under German occupation in 1943 Paris,
Grok thoughts :
Immediate post sale
Quote
Drouot @Drouot
Présentée aux enchères par la maison de ventes Lucien Paris, La “femme au chapeau à fleurs (Dora Maar)” a été adjugée 32 millions d’euros ce vendredi 24 octobre à l’Hôtel Drouot au terme d’une longue bataille d’enchères entre 18 enchérisseurs internationaux.
- The X post announces the sale of Pablo Picasso's 1943 oil painting "Buste de femme au chapeau à fleurs (Dora Maar)" for a record 32 million euros at Drouot auction house, the highest price for any artwork in France in 2025.
- Painted during the Nazi occupation of Paris, the cubist portrait of Picasso's muse Dora Maar features her in a vibrant floral hat and had remained in private hands, unseen publicly for over 80 years until this rediscovery.
- The intense bidding war among 18 international participants, culminating in a foreign buyer's victory, underscores the global appetite for rare wartime Picassos, with the piece's provenance enhancing its value amid a competitive art market.
Pre sale
Quote
Artnet @artnet Sep 20
#ArtnetNews: A Pablo Picasso portrait of his lover, artist Dora Maar, is going on public view for the first time and is headed to the auction block after eight decades in the collection of the same family that purchased it in 1944. Painted under German occupation in 1943 Paris,
- Painted in 1943 amid Nazi-occupied Paris, Picasso's Buste de femme au chapeau à fleurs (Dora Maar) captures his muse in a vibrant Cubist style, symbolizing personal turmoil and wartime grief as their abusive relationship ended that year.
- Acquired by a private family in 1944 shortly after completion, the portrait remained unseen publicly for 80 years, known only via a studio photo in Picasso's catalogue raisonné, until its debut view ahead of auction.
- Estimated at €8 million ($9.4 million), it headlines Lucien Paris's October 24 sale at Hôtel Drouot, highlighting Dora Maar's overlooked Surrealist legacy, including her Guernica photography and recent exhibitions reclaiming her artistic influence.
1946 Eagle by Qi Baishi
2011 SOLD for RMB 425M by China Guardian (unpaid)
A drawing by Qi Baishi had been auctioned for RMB 425M by China Guardian on May 22, 2011, lot 1192. It features an eagle standing in a pine tree.
The composition is bold : the bird is completely surrounded by branches, but its proud look makes it the focal point of this image of 266 x 100 cm, flanked by two stripes 66 cm wide. Each stripe includes a poem in four huge calligrams.
It is a political symbol. This eagle was made in 1946 to celebrate the birthday of Jiang Jieshi (pinyin for Chiang Kai-shek) after the defeat of Japan.
Two years after the sale by Chinese Antiques : the winning bidder has refused to pay for the piece since doubts were raised about its authenticity.
Grok thought from an ArtHitParade tweet :
Asking Grok to compare Eagle standing in a pine tree by Qi Baishi (1946), sold by China Guardian on May 22, 2011, lot 1192, cancelled after sale for authenticity doubts, with Eagle on Rock, sold by China Guardian on December 18, 2017, lot 286. Find the estimated execution date for Eagle on Rock.
Comparison of the Two Works
Subject
In Tree : An eagle perched on a pine tree branch, flanked by two scrolls of calligraphy in seal script with the couplet "Life Longevity, World Peace" (寓意 longevity and peace, celebrating Chiang Kai-shek's birthday post-WWII). Symbolizes strength, endurance, and national pride.
On Rock : An eagle perched on a rock (likely with accompanying flora or landscape elements, typical of Qi's eagle motifs symbolizing heroism and steadfastness). Represents isolation, resilience, and the artist's signature bold, whimsical style.
Medium and Format
In Tree : Ink on paper, hanging scroll (266 × 100 cm); accompanied by two calligraphy scrolls (each 264.5 × 65.8 cm). Large-scale, triptych-like presentation emphasizing grandeur.
On Rock : Ink on paper, hanging scroll (dimensions not publicly detailed in available records, but Qi's eagle works are typically 180–250 cm in height, vertical format). Single or paired with inscription, focusing on dynamic composition.
Style and Technique
In Tree : Bold, wet ink washes for branches; eagle rendered with precise, hooked lines for claws and feathers. Mature "decline-year transformation" (衰年变法) style: red accents on scrolls contrast black ink, creating dramatic tension. Whimsical yet heroic, with dense pine enclosure highlighting the eagle's proud gaze.
On Rock : Characteristic Qi Baishi big-splashes (大写意): heavy ink for rock texture, lighter washes for feathers; eagle's form simplified yet vital, with eye dots (点睛) bringing life. Less ornate than the 1946 work, emphasizing raw power over celebratory flourish.
Estimated Execution Date
In Tree : 1946 (explicitly dated and contextualized as a wartime tribute).
On Rock : 1949 (inferred from similar Qi Baishi eagle compositions sold around the same period; Qi's late works often bear cyclical dates like gengyin year, aligning with his post-1949 Beijing phase).
Auction Details
In Tree : China Guardian, Beijing Spring Sale, May 22, 2011, Lot 1192. Hammer price: RMB 425.5 million (~USD 65.4 million, record for modern Chinese art at the time).
On Rock : China Guardian, Beijing Autumn Sale, December 18, 2017, Lot 286. Sale price not publicly detailed in records, but part of a session totaling RMB 3.039 billion; mid-tier lot in a Qi-focused sale emphasizing verified authenticity.
Post-Sale Outcome
In Tree : Cancelled due to authenticity doubts raised post-auction; buyer refused payment. Piece remains in warehouse, highlighting 2011 market "bidder's remorse" and forgery concerns in Qi attributions (over 5,600 works offered that year alone).
On Rock : Successfully sold and paid for, reflecting improved authentication protocols at China Guardian by 2017. No reported disputes, underscoring market maturation.
Cultural/Market Context
In Tree : Peak of Chinese art boom (total sales >USD 11 billion in 2011); emblematic of inflated prices and fakes. Marketed as "masterpiece" but scrutinized for over-attribution.
On Rock : Post-2011 correction; Qi works fetched records (e.g., Twelve Landscape Screens at RMB 931.5 million same sale), but with stricter vetting. Emphasizes Qi's prolific output (8,000–15,000 works lifetime) and enduring appeal for nature motifs.
Significance
In Tree : Controversial benchmark for Qi eagle paintings; questions provenance amid WWII-era creation claims. Now a cautionary tale in art fraud discussions.
On Rock : Authentic counterpart, reinforcing Qi's late-period mastery. Contributes to his auction dominance (top 100 sales all in China).
Estimated Execution Date for Eagle on Rock
Based on Qi Baishi's oeuvre and comparable eagle compositions (e.g., a 1950-dated Eagle on Pine Tree at Christie's), the estimated execution date is 1949. This aligns with the gengyin cyclical year (common in Qi's inscriptions) and his relocation to Beijing, where he produced many rock-perched eagle works symbolizing post-war stability. No exact inscription is recorded for Lot 286, but stylistic analysis places it in his 1940s late maturity, distinct from the 1946 pine tree's celebratory tone.
The composition is bold : the bird is completely surrounded by branches, but its proud look makes it the focal point of this image of 266 x 100 cm, flanked by two stripes 66 cm wide. Each stripe includes a poem in four huge calligrams.
It is a political symbol. This eagle was made in 1946 to celebrate the birthday of Jiang Jieshi (pinyin for Chiang Kai-shek) after the defeat of Japan.
Two years after the sale by Chinese Antiques : the winning bidder has refused to pay for the piece since doubts were raised about its authenticity.
Grok thought from an ArtHitParade tweet :
- This 2011 post announces the apparent record $65 million sale of Qi Baishi's 1946 ink painting "Eagle Standing on a Pine Tree" at China Guardian in Beijing, capturing the peak of China's art market boom when auction totals hit $4.3 billion.
- Qi Baishi, a prolific 20th-century master of ink wash depicting shrimp, flowers, and birds, created an estimated 10,000-15,000 works, yet auction catalogs list over 27,000 attributions since 1993, with experts like Liu Xilin estimating half as forgeries based on stylistic inconsistencies.
- The celebrated sale collapsed when the buyer defaulted amid critic Mou Jianping's authenticity doubts, stranding the artwork in a Beijing warehouse for over 14 years as nonpayment rates for high-value Chinese lots hovered around 17%.
Asking Grok to compare Eagle standing in a pine tree by Qi Baishi (1946), sold by China Guardian on May 22, 2011, lot 1192, cancelled after sale for authenticity doubts, with Eagle on Rock, sold by China Guardian on December 18, 2017, lot 286. Find the estimated execution date for Eagle on Rock.
Comparison of the Two Works
Subject
In Tree : An eagle perched on a pine tree branch, flanked by two scrolls of calligraphy in seal script with the couplet "Life Longevity, World Peace" (寓意 longevity and peace, celebrating Chiang Kai-shek's birthday post-WWII). Symbolizes strength, endurance, and national pride.
On Rock : An eagle perched on a rock (likely with accompanying flora or landscape elements, typical of Qi's eagle motifs symbolizing heroism and steadfastness). Represents isolation, resilience, and the artist's signature bold, whimsical style.
Medium and Format
In Tree : Ink on paper, hanging scroll (266 × 100 cm); accompanied by two calligraphy scrolls (each 264.5 × 65.8 cm). Large-scale, triptych-like presentation emphasizing grandeur.
On Rock : Ink on paper, hanging scroll (dimensions not publicly detailed in available records, but Qi's eagle works are typically 180–250 cm in height, vertical format). Single or paired with inscription, focusing on dynamic composition.
Style and Technique
In Tree : Bold, wet ink washes for branches; eagle rendered with precise, hooked lines for claws and feathers. Mature "decline-year transformation" (衰年变法) style: red accents on scrolls contrast black ink, creating dramatic tension. Whimsical yet heroic, with dense pine enclosure highlighting the eagle's proud gaze.
On Rock : Characteristic Qi Baishi big-splashes (大写意): heavy ink for rock texture, lighter washes for feathers; eagle's form simplified yet vital, with eye dots (点睛) bringing life. Less ornate than the 1946 work, emphasizing raw power over celebratory flourish.
Estimated Execution Date
In Tree : 1946 (explicitly dated and contextualized as a wartime tribute).
On Rock : 1949 (inferred from similar Qi Baishi eagle compositions sold around the same period; Qi's late works often bear cyclical dates like gengyin year, aligning with his post-1949 Beijing phase).
Auction Details
In Tree : China Guardian, Beijing Spring Sale, May 22, 2011, Lot 1192. Hammer price: RMB 425.5 million (~USD 65.4 million, record for modern Chinese art at the time).
On Rock : China Guardian, Beijing Autumn Sale, December 18, 2017, Lot 286. Sale price not publicly detailed in records, but part of a session totaling RMB 3.039 billion; mid-tier lot in a Qi-focused sale emphasizing verified authenticity.
Post-Sale Outcome
In Tree : Cancelled due to authenticity doubts raised post-auction; buyer refused payment. Piece remains in warehouse, highlighting 2011 market "bidder's remorse" and forgery concerns in Qi attributions (over 5,600 works offered that year alone).
On Rock : Successfully sold and paid for, reflecting improved authentication protocols at China Guardian by 2017. No reported disputes, underscoring market maturation.
Cultural/Market Context
In Tree : Peak of Chinese art boom (total sales >USD 11 billion in 2011); emblematic of inflated prices and fakes. Marketed as "masterpiece" but scrutinized for over-attribution.
On Rock : Post-2011 correction; Qi works fetched records (e.g., Twelve Landscape Screens at RMB 931.5 million same sale), but with stricter vetting. Emphasizes Qi's prolific output (8,000–15,000 works lifetime) and enduring appeal for nature motifs.
Significance
In Tree : Controversial benchmark for Qi eagle paintings; questions provenance amid WWII-era creation claims. Now a cautionary tale in art fraud discussions.
On Rock : Authentic counterpart, reinforcing Qi's late-period mastery. Contributes to his auction dominance (top 100 sales all in China).
Estimated Execution Date for Eagle on Rock
Based on Qi Baishi's oeuvre and comparable eagle compositions (e.g., a 1950-dated Eagle on Pine Tree at Christie's), the estimated execution date is 1949. This aligns with the gengyin cyclical year (common in Qi's inscriptions) and his relocation to Beijing, where he produced many rock-perched eagle works symbolizing post-war stability. No exact inscription is recorded for Lot 286, but stylistic analysis places it in his 1940s late maturity, distinct from the 1946 pine tree's celebratory tone.
1947 L'Homme au Doigt by Giacometti
2015 SOLD for $ 140M by Christie's
After the war Alberto Giacometti reinstalled himself in his Parisian studio which had been carefully maintained by Diego. His life is stabilized by his meeting with Annette. He wants to exhibit through his sculptures his own view about the human nature, close to Sartre's existentialism.
Alberto appreciates that some new art is required and that his diminutive sculptures will not appeal anybody. His characters will now be life-size. They will be threadlike as the floor lamps that the artist formerly conceived for Jean-Michel Frank, fragile in their bodies and solid in their bronze. These humans are not identifiable but the original plaster tirelessly kneaded by the artist's hand brings them a tormented texture that resembles their creator.
The seminal story of his new creativity takes place immediately after the war, tentatively in 1945. He goes to the cinema in Montparnasse. On the boulevard, he sees men walking and women standing. Everyone knows the reason for his or her immediate action, which is not accessible to others. A crowd is a gathering of lonely characters. Alberto is no longer inspired by cinema, which is nothing more than a projection of light on a screen. He decides that his art will be closer to real life.
Pierre Matisse is interested and promises to organize an exhibition in New York in January 1948 of this art which, in October 1947, does not yet exist. The works must be designed and the bronzes have to be melt. The artist is in a hurry which is not his usual practice. The meeting with the agents of the foundry is scheduled for the next morning. Alberto is not ready.
He is not happy with his prototype and demolishes it. In a night of frenzied creation, he realizes L'Homme au doigt. When it is carried out for the factory, the plaster is achieved but it is still wet. Seven bronzes including an artist's proof are edited by the Alexis Rudier company.
The man points the finger to show the way to the other two sculptures in the trilogy, L'Homme qui marche and his opposite the everlasting Femme debout. This horizontal finger is a sign of authority, hope and renewal. L'Homme au doigt emits the founding message before disappearing from Alberto's creations, unlike the other two figures that will accompany his whole career,
The plaster had been kneaded in a hurry, giving a tormented and scarred texture from which some observers said that L'Homme au doigt is Alberto's self portrait. One bronze, the number 6/6, was hand-painted by the artist. It strengthens the resemblance. The pointing man is not God between Adam and Eve, he is Alberto, the creative artist.
This number 6/6 178 cm high is the most outstanding piece of bronze by Alberto. It was sold for $ 140M by Christie's on May 11, 2015, lot 29A.
Man is walking with energy but nobody knows why, not even the character. The energy of his step is useful, or not, his compass shaped legs prophesying the imbalance of the future. Woman is waiting and passive. She however must have a role, like the tree in the forest.
Other figures will soon be created as well as groups and busts.
Response by Grok :
Quote
Trivia Encyclopedia @edpearce080759 May 11, 2023
"L'Homme au doigt" (man pointing) a 1947 work by Swiss sculptor Alberto Giacometti was auctioned for $141.3m at Christie's in New York City on May 11, 2015, setting the record for most expensive sculpture sold at an auction. https://encyclopaediaoftrivia.blogspot.com/2017/11/sculpture.html…
Alberto appreciates that some new art is required and that his diminutive sculptures will not appeal anybody. His characters will now be life-size. They will be threadlike as the floor lamps that the artist formerly conceived for Jean-Michel Frank, fragile in their bodies and solid in their bronze. These humans are not identifiable but the original plaster tirelessly kneaded by the artist's hand brings them a tormented texture that resembles their creator.
The seminal story of his new creativity takes place immediately after the war, tentatively in 1945. He goes to the cinema in Montparnasse. On the boulevard, he sees men walking and women standing. Everyone knows the reason for his or her immediate action, which is not accessible to others. A crowd is a gathering of lonely characters. Alberto is no longer inspired by cinema, which is nothing more than a projection of light on a screen. He decides that his art will be closer to real life.
Pierre Matisse is interested and promises to organize an exhibition in New York in January 1948 of this art which, in October 1947, does not yet exist. The works must be designed and the bronzes have to be melt. The artist is in a hurry which is not his usual practice. The meeting with the agents of the foundry is scheduled for the next morning. Alberto is not ready.
He is not happy with his prototype and demolishes it. In a night of frenzied creation, he realizes L'Homme au doigt. When it is carried out for the factory, the plaster is achieved but it is still wet. Seven bronzes including an artist's proof are edited by the Alexis Rudier company.
The man points the finger to show the way to the other two sculptures in the trilogy, L'Homme qui marche and his opposite the everlasting Femme debout. This horizontal finger is a sign of authority, hope and renewal. L'Homme au doigt emits the founding message before disappearing from Alberto's creations, unlike the other two figures that will accompany his whole career,
The plaster had been kneaded in a hurry, giving a tormented and scarred texture from which some observers said that L'Homme au doigt is Alberto's self portrait. One bronze, the number 6/6, was hand-painted by the artist. It strengthens the resemblance. The pointing man is not God between Adam and Eve, he is Alberto, the creative artist.
This number 6/6 178 cm high is the most outstanding piece of bronze by Alberto. It was sold for $ 140M by Christie's on May 11, 2015, lot 29A.
Man is walking with energy but nobody knows why, not even the character. The energy of his step is useful, or not, his compass shaped legs prophesying the imbalance of the future. Woman is waiting and passive. She however must have a role, like the tree in the forest.
Other figures will soon be created as well as groups and busts.
Response by Grok :
Quote
Trivia Encyclopedia @edpearce080759 May 11, 2023
"L'Homme au doigt" (man pointing) a 1947 work by Swiss sculptor Alberto Giacometti was auctioned for $141.3m at Christie's in New York City on May 11, 2015, setting the record for most expensive sculpture sold at an auction. https://encyclopaediaoftrivia.blogspot.com/2017/11/sculpture.html…
- "L'Homme au doigt," created by Alberto Giacometti in 1947, reflects his unique technique of elongating figures to explore human fragility, with studies showing his sculptures evoke existential themes backed by art historians like Reinhold Hohl in Alberto Giacometti (1971).
- The $141.3 million sale in 2015 at Christie's broke records, surpassing Giacometti's prior high of $103.4 million for "Walking Man I" in 2010, highlighting a surge in demand for modern art fueled by wealthy collectors, with global art auction sales reaching $26 billion that year per TEFAF's Art Market Report.
- The anonymous buyer's possible Asian origin aligns with a trend of Asian collectors dominating high-value art purchases, as evidenced by a 2023 Art Basel report noting 29% of global auction sales now come from Asia, challenging Western art market dominance.
Giacometti apparently did not reuse his primordial figure L'Homme au Doigt after the seminal 1947 cast of 6 plus 1 artist's proof. Tell the reason why : existentialist thoughts or technical issue with the pointing arms and finger ? Where are now the plasters and bronzes of L'Homme au Doigt ? Compare with Le Nez, conceived in plaster in 1947 but apparently not cast in bronze before 1964.
Alberto Giacometti's L'Homme au doigt (Pointing Man), conceived in 1947, was cast in bronze in an edition of six numbered copies plus one artist's proof shortly after its creation (using the Alexis Rudier foundry). Contrary to the premise in your question, Giacometti did cast and edition the work in 1947–48, rather than limiting it to a single cast or avoiding reuse of the model.
The sculpture was modeled in plaster in a single intense session (Giacometti described completing it "in one night between midnight and nine the next morning," with the plaster still wet when collected by the foundry). No reliable sources indicate that he deliberately avoided recasting or editions due to existentialist philosophy (though his postwar figures, including this one, are often interpreted through an existential lens of isolation, fragility, and human presence, as discussed by Jean-Paul Sartre) or technical difficulties with the extended pointing arm and finger (the thin, elongated forms were characteristic of his mature style and successfully cast without noted structural issues).
Current Locations of L'Homme au doigt Casts
Comparison with Le Nez
Le Nez (The Nose), also conceived in plaster in 1947 (with a revised version in 1949), follows a different trajectory: Giacometti reworked the composition multiple times over the years (altering the cage structure, suspension, and details), but he did not authorize bronze casting until around 1964–65. This delay aligns with his postwar practice for some works—keeping plasters in the studio for ongoing modification rather than immediate editioning—possibly reflecting his relentless pursuit of capturing perceptual "reality" and distance (a phenomenological concern tied to existential themes of alienation and the absurd). The bronze edition (typically 6 casts) was produced later, with examples in institutions like the Centre Pompidou (Paris) and private collections. Original and variant plasters remain with the Fondation Giacometti.
In summary, while both works emerged from Giacometti's pivotal 1947 breakthrough toward elongated, emaciated figures symbolizing postwar human vulnerability, L'Homme au doigt was promptly editioned in bronze, whereas Le Nez exemplifies his habit of delaying casting for certain pieces to allow further evolution. No evidence supports a specific technical fragility in the pointing gesture as a reason for limited production.
Alberto Giacometti's L'Homme au doigt (Pointing Man), conceived in 1947, was cast in bronze in an edition of six numbered copies plus one artist's proof shortly after its creation (using the Alexis Rudier foundry). Contrary to the premise in your question, Giacometti did cast and edition the work in 1947–48, rather than limiting it to a single cast or avoiding reuse of the model.
The sculpture was modeled in plaster in a single intense session (Giacometti described completing it "in one night between midnight and nine the next morning," with the plaster still wet when collected by the foundry). No reliable sources indicate that he deliberately avoided recasting or editions due to existentialist philosophy (though his postwar figures, including this one, are often interpreted through an existential lens of isolation, fragility, and human presence, as discussed by Jean-Paul Sartre) or technical difficulties with the extended pointing arm and finger (the thin, elongated forms were characteristic of his mature style and successfully cast without noted structural issues).
Current Locations of L'Homme au doigt Casts
- Four casts are in major museum collections, including the Museum of Modern Art (MoMA), New York, and Tate Modern, London.
- The remaining casts are held by the Fondation Giacometti (Paris) and private collections.
- One notable cast (6/6, hand-painted by the artist) sold at Christie's in 2015 for $141.3 million (a record for any sculpture at auction) and is now in a private collection (reportedly owned by Steven A. Cohen).
Comparison with Le Nez
Le Nez (The Nose), also conceived in plaster in 1947 (with a revised version in 1949), follows a different trajectory: Giacometti reworked the composition multiple times over the years (altering the cage structure, suspension, and details), but he did not authorize bronze casting until around 1964–65. This delay aligns with his postwar practice for some works—keeping plasters in the studio for ongoing modification rather than immediate editioning—possibly reflecting his relentless pursuit of capturing perceptual "reality" and distance (a phenomenological concern tied to existential themes of alienation and the absurd). The bronze edition (typically 6 casts) was produced later, with examples in institutions like the Centre Pompidou (Paris) and private collections. Original and variant plasters remain with the Fondation Giacometti.
In summary, while both works emerged from Giacometti's pivotal 1947 breakthrough toward elongated, emaciated figures symbolizing postwar human vulnerability, L'Homme au doigt was promptly editioned in bronze, whereas Le Nez exemplifies his habit of delaying casting for certain pieces to allow further evolution. No evidence supports a specific technical fragility in the pointing gesture as a reason for limited production.
POLLOCK
1
1948 Number 19
2013 SOLD for $ 58M by Christie's
In 1946, Lee Krasner pushes Jackson Pollock to a secluded barn on Long Island. Thus freed from the bustle of the big city, Pollock has the luck to live his artistic Passion, in the strongest meaning of that word.
He did not consider himself as an abstract artist. In the first months after his arrival in Long Island, he developed two series of paintings titled 'Sounds in the grass' and 'Accabonac Creek', reflecting his desire to commune with the earth for expressing its richness.
Pollock improves his technique throughout 1946, and abandons his stylized figuration. Wanting to work on a hard surface, he uses the masonite. He begins to apply the pigment in impasto directly at the outlet of the tube and gradually gives up the brush. For convenience, he lays directly on the floor the surface to be painted instead of using an easel.
The use of sprayed or flowing liquid paint is made possible by that position of the support. His hand acquires an unprecedented freedom. Pollock's art conveys his subconscious energy, just as Chinese calligraphy is a direct transcription of an artist's emotion. Masson is referred with Miro among Pollock's surrealist influences, but it will be noted that Michaux's automatic drawings were influenced by Chinese calligraphy.
The very first work using dripping was painted at the end of 1946. The surface is bright red and the contributions are black and white. Named Free form, this 49 x 36 cm oil on canvas is kept at the MoMA. There is no horizon and no framing even when the work is small, and there is also no longer a figuration.
The next step is the diversification of colors. The lines of pure colors of various widths form infinite and meticulous tangles. The regularity of the final mesh is spectacular without being total, so that certain areas are breathing or vibrating such as an organic matter. Richter's squeegee will generate similar effects.
An oil on masonite 48 x 60 cm dated 1946 is painted in bright yellow, bright blue and black by dripping and splashing on a background of the same red. It was sold for $ 13M by Christie's on October 6, 2020, lot 5. Its first owner was Peggy Guggenheim. It is de-accessioned by the Everson Art Museum in Syracuse NY to refocus their collection on the fight against racial and sexual inequalities.
Pollock's musicalist dances around large-scale works came soon after.
The works on paper prepared with a white primer are promising and the small formats make it more possible to obtain in a lesser time a full covering of the surface with the desirable entangled lines of high density.
On May 15, 2013, Christie's sold for $ 58M from a lower estimate of $ 25M Number 19, 1948. This oil and enamel on paper mounted on canvas is small, 78 x 57 cm, but the fineness of the pours and drips is superb. Please watch the video prepared by Christie's.
Grok thought :
Quote
Christie's @ChristiesInc May 16, 2013
Jackson Pollock's Number 19, 1948 realized $58,363,750, a #worldauctionrecord for the artist
He did not consider himself as an abstract artist. In the first months after his arrival in Long Island, he developed two series of paintings titled 'Sounds in the grass' and 'Accabonac Creek', reflecting his desire to commune with the earth for expressing its richness.
Pollock improves his technique throughout 1946, and abandons his stylized figuration. Wanting to work on a hard surface, he uses the masonite. He begins to apply the pigment in impasto directly at the outlet of the tube and gradually gives up the brush. For convenience, he lays directly on the floor the surface to be painted instead of using an easel.
The use of sprayed or flowing liquid paint is made possible by that position of the support. His hand acquires an unprecedented freedom. Pollock's art conveys his subconscious energy, just as Chinese calligraphy is a direct transcription of an artist's emotion. Masson is referred with Miro among Pollock's surrealist influences, but it will be noted that Michaux's automatic drawings were influenced by Chinese calligraphy.
The very first work using dripping was painted at the end of 1946. The surface is bright red and the contributions are black and white. Named Free form, this 49 x 36 cm oil on canvas is kept at the MoMA. There is no horizon and no framing even when the work is small, and there is also no longer a figuration.
The next step is the diversification of colors. The lines of pure colors of various widths form infinite and meticulous tangles. The regularity of the final mesh is spectacular without being total, so that certain areas are breathing or vibrating such as an organic matter. Richter's squeegee will generate similar effects.
An oil on masonite 48 x 60 cm dated 1946 is painted in bright yellow, bright blue and black by dripping and splashing on a background of the same red. It was sold for $ 13M by Christie's on October 6, 2020, lot 5. Its first owner was Peggy Guggenheim. It is de-accessioned by the Everson Art Museum in Syracuse NY to refocus their collection on the fight against racial and sexual inequalities.
Pollock's musicalist dances around large-scale works came soon after.
The works on paper prepared with a white primer are promising and the small formats make it more possible to obtain in a lesser time a full covering of the surface with the desirable entangled lines of high density.
On May 15, 2013, Christie's sold for $ 58M from a lower estimate of $ 25M Number 19, 1948. This oil and enamel on paper mounted on canvas is small, 78 x 57 cm, but the fineness of the pours and drips is superb. Please watch the video prepared by Christie's.
Grok thought :
Quote
Christie's @ChristiesInc May 16, 2013
Jackson Pollock's Number 19, 1948 realized $58,363,750, a #worldauctionrecord for the artist
- Christie's 2013 post celebrates the $58.4 million sale of Jackson Pollock's "Number 19, 1948," an abstract drip painting that set a then-record for the artist, surpassing its $35 million high estimate amid four bidders.
- This sale anchored Christie's Post-War and Contemporary Art Evening Auction, totaling $495 million—the highest auction sum at the time—highlighting booming demand for mid-20th-century American abstraction.
- Created during Pollock's peak drip period, the enamel-and-oil work on paper mounted on canvas exemplifies his innovative action painting technique, influencing modern art movements like Abstract Expressionism.
2
1949 Number 31
2022 SOLD for $ 54M by Christie's
1949 was the pinnacle in the life of Jackson Pollock. His unprecedented method of painting with dripping, which he invented two years earlier, is operational. His wife Lee Krasner and the gallery owner Betty Parsons manage his career, sparing him those social relationships in which he is so uncomfortable. From the end of 1948 until November 1950, he did not drink alcohol.
With these favorable circumstances, Jack can devote himself to his art, which he has always understood as the expression of his subconscious. The laudatory comments from some art critics don't surprise him : he tells Lee that there is no other example of creativity in their country except for the Bebop by Dizzy Gillespie and Charlie Parker.
He has detractors, who consider that his creative gesture is random and therefore meaningless. Motivated by this opposition, he is preparing a series of paintings which will be exhibited together at the end of the year by Betty Parsons to demonstrate the diversity of his pictorial effects in a unique format.
He chooses oil and enamel on paper, which does not alter the colors of the pigments, adding on some works a phosphorescence effect with aluminum paint. The paper format, 78 x 57 cm, is not comparable to the gigantic canvases of the previous year, but it has an operational advantage : the jerky movement of the wrist is sufficient to perform a dripping of great precision without resorting to a gesticulatory dance all around the work.
This set of 16 works mounted on masonite is exhibited in November 1949 by Betty Parsons alongside unsold items from the previous show.
The Number 31 of 1949, oil, enamel, aluminum paint and gesso on paper mounted on Masonite
79 x 57 cm painted in 1949, was sold for $ 54M by Christie's on May 12, 2022, lot 21C. It is in a great original condition with fresh colors.
The abstract swirls and stains densely occupy the whole surface of the paper in a vibrant arrangement of colors. It is one of the eight examples in that series which used drips of aluminum paint to increase the brightness. Brilliant red, emerald green, turquoise, yellow and orange offer a rainbow spectrum effect.
This piece demonstrating the full maturity of Pollock's dripping process was included in the second solo show at Betty Parsons Gallery in November and December 1949.
Grok thought :
Quote
FAD Magazine @worldofFAD May 3, 2022
$45 million+ Jackson Pollock masterpiece to lead Christie’s 20th Century evening sale https://buff.ly/3OHYTCO @ChristiesInc #auction #jacksonpollock
With these favorable circumstances, Jack can devote himself to his art, which he has always understood as the expression of his subconscious. The laudatory comments from some art critics don't surprise him : he tells Lee that there is no other example of creativity in their country except for the Bebop by Dizzy Gillespie and Charlie Parker.
He has detractors, who consider that his creative gesture is random and therefore meaningless. Motivated by this opposition, he is preparing a series of paintings which will be exhibited together at the end of the year by Betty Parsons to demonstrate the diversity of his pictorial effects in a unique format.
He chooses oil and enamel on paper, which does not alter the colors of the pigments, adding on some works a phosphorescence effect with aluminum paint. The paper format, 78 x 57 cm, is not comparable to the gigantic canvases of the previous year, but it has an operational advantage : the jerky movement of the wrist is sufficient to perform a dripping of great precision without resorting to a gesticulatory dance all around the work.
This set of 16 works mounted on masonite is exhibited in November 1949 by Betty Parsons alongside unsold items from the previous show.
The Number 31 of 1949, oil, enamel, aluminum paint and gesso on paper mounted on Masonite
79 x 57 cm painted in 1949, was sold for $ 54M by Christie's on May 12, 2022, lot 21C. It is in a great original condition with fresh colors.
The abstract swirls and stains densely occupy the whole surface of the paper in a vibrant arrangement of colors. It is one of the eight examples in that series which used drips of aluminum paint to increase the brightness. Brilliant red, emerald green, turquoise, yellow and orange offer a rainbow spectrum effect.
This piece demonstrating the full maturity of Pollock's dripping process was included in the second solo show at Betty Parsons Gallery in November and December 1949.
Grok thought :
Quote
FAD Magazine @worldofFAD May 3, 2022
$45 million+ Jackson Pollock masterpiece to lead Christie’s 20th Century evening sale https://buff.ly/3OHYTCO @ChristiesInc #auction #jacksonpollock
- Painting Details: Jackson Pollock's Number 31 (1949) is a compact drip technique work on paper mounted on Masonite, using oil, enamel, and aluminum paint for its vibrant, metallic layers; created at the height of his fame, it was praised by critics upon debut and featured in MoMA retrospectives.
- Auction Outcome: Estimated at over $45 million for Christie's May 12, 2022, 20th Century Evening Sale, the piece sold for $54.2 million, reinforcing Pollock's status as a top Abstract Expressionist with consistent high-value sales.
- Market Insight: As one of only eight metallic drip paintings from 1949, Number 31 exemplifies the New York School's rise, with its sale reflecting sustained demand for Pollock's innovative techniques amid a competitive postwar art market.
3
1949 Number 32
2018 SOLD for $ 34M by Sotheby's
Number 32, 1949 is one of the 8 examples that used aluminum.
In a nice freshness thanks to a parsimonious use in exhibitions, this oil, enamel, and aluminum paint on paper mounted on Masonite was sold for $ 34M by Sotheby's on May 16, 2018, lot 14. Please watch the short video and the full video shared by the auction house.
Grok thought :
Quote
Sotheby's @Sothebys Apr 23, 2018
Dive into Jackson #Pollock's 'Number 32, 1949', one of 16 drip paintings created on paper mounted on Masonite or canvas in 1949. #SothebysContemporary Art Evening Auction takes place 16 May; exhibitions open 4 May. #FearlessNow
In a nice freshness thanks to a parsimonious use in exhibitions, this oil, enamel, and aluminum paint on paper mounted on Masonite was sold for $ 34M by Sotheby's on May 16, 2018, lot 14. Please watch the short video and the full video shared by the auction house.
Grok thought :
Quote
Sotheby's @Sothebys Apr 23, 2018
Dive into Jackson #Pollock's 'Number 32, 1949', one of 16 drip paintings created on paper mounted on Masonite or canvas in 1949. #SothebysContemporary Art Evening Auction takes place 16 May; exhibitions open 4 May. #FearlessNow
- This 2018 Sotheby's post promotes Jackson Pollock's "Number 32, 1949," a rare drip painting on paper mounted on Masonite from his prolific 1949 series, inviting viewers to explore its abstract energy ahead of a May auction.
- The attached video immerses audiences in the artwork's layered drips and aluminum paint shimmer, framing it as a post-war masterpiece that redefined modern painting techniques.
- Auctioned on May 16, 2018, the piece fetched $34.1 million—surpassing its $30–40 million estimate—affirming Pollock's enduring value, with only 16 similar works from that year known to exist.
1948 Landscape after Wang Ximeng by Zhang Daqian
2022 SOLD for HK$ 370M by Sotheby's
Zhang Daqian permeated his art with the best antique pictorial traditions, including the blue and green paintings from the Sui, Tang and Song. This practice was vilified by Western observers as plagiarism after the second world war. Yet it fits perfectly in the spirit of continuity that governs the Chinese art for three millennia.
A landscape of rivers and mountains after Wang Ximeng painted in January and February 1948 is a fair example of a transformation performed by Zhang while keeping the spirit and the style of an antique painting. It had not been shown in public since 1983.
Wang was a prodigy artist under the Northern Song dynasty who was taught and commissioned by the Huizong emperor himself. He died in 1119 CE at 23 years old. The unique artwork attributed to him is a handscroll 52 x 1200 cm painted in ink and blue and green colors on silk when he was not yet 18 years old. It is now kept in the Palace Museum in Beijing.
The work by Zhang was to transfer the significant elements of that masterpiece into a 134 x 73 cm hanging scroll of a similar technique. He did not keep the original composition, changing the multi point classical scenery into a modern perspective from a shore while preserving the vastness of the mountain range.
He led the perfection into even copying the seagulls and geese half hidden in the waves. Zhang's make is in fine line and exquisite color including gold flecks that shimmer in the sunlight. The distant mountains are colored in Mogu style.
Landscape after Wang Ximeng was sold for HK $ 370M by Sotheby's on April 30, 2022, lot 3073. Please watch the video shared by the auction house, providing a significant juxtaposition of elements of the antique and modern pictures.
Grok thought :
Quote
Wall Power @artmarket May 4, 2022
ICYMI: In Hong Kong over the weekend, @Sothebys sold a scroll painting by classical master Zhang Daqian called "Landscape after Wang Ximeng" for HKD 370,495,000 ($47.2m) The stories of the artwork, the artist and the collector behind the sale are all equally fascinating.
A landscape of rivers and mountains after Wang Ximeng painted in January and February 1948 is a fair example of a transformation performed by Zhang while keeping the spirit and the style of an antique painting. It had not been shown in public since 1983.
Wang was a prodigy artist under the Northern Song dynasty who was taught and commissioned by the Huizong emperor himself. He died in 1119 CE at 23 years old. The unique artwork attributed to him is a handscroll 52 x 1200 cm painted in ink and blue and green colors on silk when he was not yet 18 years old. It is now kept in the Palace Museum in Beijing.
The work by Zhang was to transfer the significant elements of that masterpiece into a 134 x 73 cm hanging scroll of a similar technique. He did not keep the original composition, changing the multi point classical scenery into a modern perspective from a shore while preserving the vastness of the mountain range.
He led the perfection into even copying the seagulls and geese half hidden in the waves. Zhang's make is in fine line and exquisite color including gold flecks that shimmer in the sunlight. The distant mountains are colored in Mogu style.
Landscape after Wang Ximeng was sold for HK $ 370M by Sotheby's on April 30, 2022, lot 3073. Please watch the video shared by the auction house, providing a significant juxtaposition of elements of the antique and modern pictures.
Grok thought :
Quote
Wall Power @artmarket May 4, 2022
ICYMI: In Hong Kong over the weekend, @Sothebys sold a scroll painting by classical master Zhang Daqian called "Landscape after Wang Ximeng" for HKD 370,495,000 ($47.2m) The stories of the artwork, the artist and the collector behind the sale are all equally fascinating.
- The post highlights a record-breaking May 2022 Sotheby's Hong Kong sale of Zhang Daqian's 1948 blue-green landscape scroll, "Landscape after Wang Ximeng," fetching HK$370 million ($47 million), surpassing prior benchmarks for the artist until a 2023 auction.
- Zhang Daqian, a 20th-century master known for emulating ancient styles, drew inspiration from Song dynasty prodigy Wang Ximeng's monumental "A Thousand Li of Rivers and Mountains," using meticulous ink layers to evoke ethereal mist-shrouded vistas in the featured painting.
- The artwork originated from the esteemed Mei Yun Tang collection of Swiss dealer Ernst Schneider, whose discreet acquisitions of Chinese masterpieces underscored the post-war surge in Western appreciation for classical Chinese art, amplifying the piece's provenance value.
1949-A-No.1 y Still
2011 SOLD for $ 62M by Sotheby's
With Clyfford Still, the American art changed forever. A pioneer of abstract expressionism, he taught from 1946 to 1950 at the California Institute of Fine Arts. His art made of thick material is an explosion of colors that may symbolize life. Like Rothko, he wants to offer a total art, a vision with no frame.
Yet Still's work is poorly documented. He was reluctant to sell his art and was angry with the artistic establishment. At his death 2400 works were bequeathed to his family with the formal instructions to only entrust them to a place that will accept to devote an exclusive museum to him. The widow was quite logically looking for a solution in the West. The city of Denver brilliantly accepted this challenge.
The Still museum thus owns about 96% of the artistic output of the master. In a highly effective approach, four works were put on the market to pay for the development of the museum. Sotheby's won the bargain by offering a guarantee of $ 25M. The sale was held in New York on November 9, 2011.
The two top lots belong to the most creative period: 1947-Y-No-2 was estimated $ 15M, and 1949-A-No.1 $ 25M. These prices were then consistent with those obtained in the extremely rare auctions of comparable works : 1947-R-No.1, 175 x 165 cm, sold for $ 21M by Christie's on November 15, 2006, and PH-182, 154 x 111 cm painted in 1946, sold for $ 14M by Christie's on May 13, 2008. The other two lots are represntative of the development phase and of the final phase.
The four paintings fetched altogether $ 114M, more than doubling the lower estimate. 1949-A-01, oil on canvas 236 x 200 cm, was the top lot at $ 62M, lot 11. Its major feature is to highlight the signature transcendental thunderbolt from which Still based his creative thinking since 1944.
The three other results were $ 31.5M for 1947-Y-No.2, 177 x 150 cm, $ 19.7M for the 1976 painting, 237 x 210 cm, and $ 1.25M for a 104 x 95 cm for the 1940 painting.
Grok thought on an ArtHitParade tweet :
Yet Still's work is poorly documented. He was reluctant to sell his art and was angry with the artistic establishment. At his death 2400 works were bequeathed to his family with the formal instructions to only entrust them to a place that will accept to devote an exclusive museum to him. The widow was quite logically looking for a solution in the West. The city of Denver brilliantly accepted this challenge.
The Still museum thus owns about 96% of the artistic output of the master. In a highly effective approach, four works were put on the market to pay for the development of the museum. Sotheby's won the bargain by offering a guarantee of $ 25M. The sale was held in New York on November 9, 2011.
The two top lots belong to the most creative period: 1947-Y-No-2 was estimated $ 15M, and 1949-A-No.1 $ 25M. These prices were then consistent with those obtained in the extremely rare auctions of comparable works : 1947-R-No.1, 175 x 165 cm, sold for $ 21M by Christie's on November 15, 2006, and PH-182, 154 x 111 cm painted in 1946, sold for $ 14M by Christie's on May 13, 2008. The other two lots are represntative of the development phase and of the final phase.
The four paintings fetched altogether $ 114M, more than doubling the lower estimate. 1949-A-01, oil on canvas 236 x 200 cm, was the top lot at $ 62M, lot 11. Its major feature is to highlight the signature transcendental thunderbolt from which Still based his creative thinking since 1944.
The three other results were $ 31.5M for 1947-Y-No.2, 177 x 150 cm, $ 19.7M for the 1976 painting, 237 x 210 cm, and $ 1.25M for a 104 x 95 cm for the 1940 painting.
Grok thought on an ArtHitParade tweet :
- This 2011 X post reports Sotheby's record sale of four Clyfford Still abstract expressionist paintings for $114 million total, with his 1949-A-No. 1 fetching $61.7 million, exceeding presale estimates by over 60%.
- Clyfford Still's reclusive estate rarely allowed market sales due to his will's no-resale clauses, making this auction a rare event that funded the debut of Denver's Clyfford Still Museum.
- Amid 2011 financial uncertainty, the sale highlighted surging demand for postwar American art, boosting Still's market value to $197 million annually and signaling art as a stable asset class.
