Max Ernst (German, 1891-1976), ‘Homme,’ silver cast sculpture. Estmate: $70,000-$90,000. Capo Auction image.
NEW YORK – At Capo Auction Fine Art and Antiques’ final spring auction on Saturday, May 31, will feauture a Max Ernst (German, 1891-1976) silver cast sculpture titled Homme that was conceived in 1960 and cast by 1970. It’s from an edition of 1/6 with two artist’s proofs, is stamped with signature and numbered “exemplaire d’ auteur 2/2.”
It carries the serial number 1523/1848 on the underside and is stamped with silversmith’s mark on the back of the base. The sculpture stands 11 1/4 inches high and includes a custom fitted box and certificate of authenticity issued by Pierre Hugo, with an estimated value of $70,000-$90,000.
LiveAuctioneers.com will provide Internet live bidding.
Another Max Ernst sculpture, from the same owner, will also be offered. This one, Cheri Bibi is in bronze with black patina, was conceived in 1964 and cast before 1973 by Valsuani Paris. It’s signed, numbered 62/175 and stamped by the foundry on its plinth. It stands 13 1/4 inches high. This work is estimated at $8,000-$10,000.
Both pieces come from a prominent Manhattan collector and were acquired from Galerie Frederic Gollong, St. Paul-de-Vence, by the family of the present owner in 1992.
Also featured at Capo Auction this month, from the same collector, is the Cesar Baldaccini (Italian, 1921-1998) sculpture Compression made of compressed flatware. It’s signed on the side, is 11 inches high and 5 3/4 inches wide. This piece was also acquired from Galerie Frederic Gollong, St. Paul-de-Vence, in 1984 and is estimated at $50,000-$70,000.
Ad Reinhardt (American, 1913-1967), Untitled (Blue-Purple Painting), 1952, oil on canvas, 36 x 24 inches (91.4 x 61.0 cm), bears inscription, includes artist’s original painted strip frame. Estimate: $1 million-$1.5 million. Heritage Auctions image. DALLAS – Untitled (Blue-Purple Painting), 1952, Ad Reinhardt’s minimalist masterwork, is expected to bring $1 million as part of a 370-lot Modern & Contemporary Art Signature® Auction May 31 at Heritage. Works by giants ranging from Jasper Johns, Andy Warhol, and Robert Rauschenberg and sculpture by Fernando Botero, Joan Miró and François-Xavier Lalanne, among others, will be offered.
LiveAuctioneers.com will provide Internet live bidding.
The auction is the first for the venue in 2014 and comes on the heels of Heritage’s April 23 $1.2 million 20th and 21st Century Design Auction and the firm’s nearly $4 million sales of Modern & Contemporary Art in November 2013.
“The Reinhardt has a wonderful provenance and represents the fresh-to-market character of this auction,” said Frank Hettig, director of modern and contemporary art. “Like most works offered, the iconic work has remained with the same family of collectors for generations.”
Known for his geometric paintings, Reinhardt’s Untitled (Blue-Purple Painting), 1952, is an excellent example from the artist’s celebrated monochrome abstractions. The work is a model combination of varying hues and a masterwork by the pioneer of conceptual and minimal art. It was acquired by the late Ethel Epstein, an art collector and a founder of the New York Studio School and the Washington D.C. Gallery of Modern Art. Epstein’s husband, Henry, served as a New York State Supreme Court Justice while Mrs. Epstein served as the labor secretary under New York mayor Fiorello H. LaGuardia.
Additional highlights include two paintings by Sam Francis, Untitled, 1988, an expressive use of color and a signature example of the artist’s vibrant abstract work of his later years (est. $300,000+), and Bright Saddle, 1985, (est. $150,000+). The Umbrellas (Project for Japan and USA), 1987, by Christo and Jeanne-Claude (est. $120,000+) is one of six works by the American artist on offer. Andy Warhol is well represented with $ (9), 1982 (est. $80,000+), 25 Cats Name(d) Sam and One Blue Pussy, circa 1954 (est. $40,000+), Life Savers (from the Ads series), 1985 (est. $30,000+), and Flowers, 1964 (est. $10,000+).
The auction also features 17 works by Robert Rauschenberg, spanning 30 years of his career, including Rush I (from the Cloister series), 1980 (est. $200,000+) and Apple Run (Shiner), 1988 (est. $150,000+) from the peak of his rich body of work produced in the 1980s to his pop-culture-infused screenprints such as L.A. Uncovered #3, 1998 (est. 10,000+).
Leading the selection of Latin American artists is Fernando Botero’s Hand with Cigarette, 1981, (est. $180,000+) and three works from Gunther Gerzso to include Rojo-Azul-Naranja, 1973 (est. $25,000+); Calle de Tequisquipan, 1961 (est. $15,000+); and Untitled, bronze, (est. $8,000+).
A selection of sculpture includes three works by François-Xavier Lalanne, Bélier (Ram) (from Les Nouveaux Moutons), 1994, (est. $50,000+) and editions of Mouton transhumant, 1987, (est. $50,000+ each) as well as Le Pèlerin (The Pilgrim), 1972, a bronze by Joan Miró (est. $70,000+) and Machine Guns, 1973, (est. $40,000+) by Arman.
Highlights from the Estate of Ray Frost Fleming, a Cranbrook Academy of Art graduate, notable studio artist, and owner of the Robert Kidd Gallery in Birmingham, Michigan, include contemporary works from Larry Rivers, such as The Young Archer, 1995, (est. $25,000+) and Moses, 1978, a mud, reeds and steel sculpture by Deborah Butterfield (est. $25,000+).
Works on paper by Italian artist and composer Giacomo Balla range from Compenetrazione Bis, 1913, (est. $25,000+) to Study for the Line of Velocity No. 2 (double-sided), circa 1913 (est. $7,000+).
Additional highlights include, but are not limited by:
Feed Folks, 1974, by David Hammons (est. $120,000+).
Savarin, 1977, by Jasper Johns (est. $100,000+).
Collage with Stick Figures-Journal au profil, 1964, by Pablo Picasso (est. $50,000+).
Parking Lots, (the complete set, group of 30), 1967/1999, by Ed Ruscha (est. $50,000+).
Easter Realness #1, 2003, by Kehinde Wiley (est. $40,000+).
Ad Reinhardt (American, 1913-1967), Untitled (Blue-Purple Painting), 1952, oil on canvas, 36 x 24 inches (91.4 x 61.0 cm), bears inscription, includes artist’s original painted strip frame. Estimate: $1 million-$1.5 million. Heritage Auctions image.
Sam Francis (American, 1923-1994), Untitled, 1988, acrylic on canvas, 79 1/4 x 120 inches (201.3 x 304.8 cm). Estimate: $300,000-$400,000. Heritage Auctions image.
Christo And Jeanne-Claude, ‘The Umbrellas (Project for Japan and USA),’ 1987, graphite, charcoal, pastel, wax crayon; map and acrylic on paper collage laid down on panel, in two parts, together: 65 x 57 inches (165.1 x 144.8 cm). Estimate: $120,000-$180,000. Heritage Auctions image.
Andy Warhol (American, 1928-1987), ‘Life Savers’ (from the Ads series), 1985, screenprint in colors, 38 x 38 inches (96.5 x 96.5 cm) sheet, ed. 182/190. Estimate: $30,000-$50,000. Heritage Auctions image.
Robert Rauschenberg (American, 1925-2008), ‘Rush I’ (from the Cloister series), 1980, solvent transfer on paper and collage laid on panel, 98 1/4 x 74 inches (249.7 x 188.0 cm) sight. Estimate: $200,000-$300,000. Heritage Auctions image.
Fernando Botero (Columbian, b. 1932), ‘Hand with Cigarette,’ 1981, bronze with brown patina, 35 x 21 x 19-3/4 inches (88.9 x 53.3 x 50.2 cm), ed. 2/6, signed and stamped with foundry mark: ‘Botero 2/6 Fonderia / M / Italy.’ Estimate: $118,000-$220,000. Heritage Auctions image.
Larry Rivers (American, 1925-2002), ‘The Young Archer,’ 1995, oil on canvas mounted on sculpted foamboard, 56 1/2 x 45 x 5 inches (143.5 x 114.3 x 12.7 cm). Property from the Estate of Ray F. Fleming, Birmingham, Mich. Estimate: $25,000-$35,000. Heritage Auctions image.
The inscription on the back of the pocket watch commemorating the 25th anniversary of the opening of Yankee Stadium in the Bronx. Image courtesy of SCP Auctions.
LOS ANGELES (AP) – A gold pocket watch owned by baseball Hall of Famer Babe Ruth has sold for $650,108 at an auction in Southern California.
SCP Auctions said Sunday that the watch was from the 25th anniversary celebration in 1948 of the opening of Yankee Stadium. The stadium came to be dubbed “The House That Ruth Built” because of the number of fans the baseball legend drew to the venue.
SCP says other top sales include a 1965 Sandy Koufax-autographed L.A. Dodgers home jersey worn in a game that fetched $268,664. The auction house says Satchel Paige’s 1971 National Baseball Hall of Fame induction ring set a world record for a baseball-related ring, selling for $259,642.
More than 1,000 sports memorabilia items were sold Sunday for a total of $4.5 million.
Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
AP-WF-05-18-14 2323GMT
ADDITIONAL IMAGES OF NOTE
The inscription on the back of the pocket watch commemorating the 25th anniversary of the opening of Yankee Stadium in the Bronx. Image courtesy of SCP Auctions.The Longines pocket watch presented to Babe Ruth, which sold for $650,108 on Sunday. Image courtesy of SCP Auctions.
Copyright Damien Hirst and Science Ltd. All rights reserved, DACS 2014.CANNES, France (AP) – Famed British artist Damien Hirst has created a gilded woolly mammoth skeleton encased in a gold tank to be auctioned off at the annual amfAR Cinema Against AIDS gala this week.
Titled “Gone but not Forgotten,” the three-meter mammal joins Hirst’s famous shark in formaldehyde and bisected cow in his “Natural History” series.
The one-of-a kind piece is expected to raise millions of dollars for the charity’s work in the fight against AIDS. Past auction items have included a trip to space with Leonardo DiCaprio and a kiss from George Clooney.
Held at the Hotel du Cap-Eden-Roc, the amfAR gala is one of the highlights of the Cannes Film Festival attracting support from global stars such as Sharon Stone, Heidi Klum and Aishwarya Rai. This year’s guest list includes Jessica Chastain, Berenice Bejo, Adrien Brody and Robin Thicke, who will perform at Thursday’s event.
Large and rare Chinese ancestor portrait on canvas, stating: ‘the ancestors appearance is still in our mind’. Estimate: £1,500-£2,500. Ewbank’s image. LONDON – A fascinating collection brought home by their British owner after a period spent working in Singapore highlights a sale of Asian Art at Ewbank’s on Thursday, May 29.
LiveAucitoneers.com will provide Internet live bidding. The auction is composed of over 400 lots.
The collection consisting of more than 70 lots was acquired by its owner, mostly from one of Singapore’s leading dealers in Oriental art and antiques, House of Huanghuali, over a period of seven or eight years while traveling around Asia on business.
Other pieces were purchased in such places as China, Tibet and Vietnam, but a spring cleaning has resulted in them being offered at Ewbank’s.
Leading the collection is a fine and rare Chinese Tang dynasty Sancai figure of a Lokapala wearing an elaborate headdress. In Hindu mythology, Lokapala is a deity who protects the four compass directions. Depicted standing on rocks and trampling a demon, the nedarly 3-foot-tall figure dates from circa A.D. 618-907 and is estimated at £5,000-£8,000. Sancai is an ancient type of Chinese pottery. The name translates literally to “three colors.”
A Chinese famille verte (green family of colors) baluster vase having a waisted neck and painted with two panels of an official with attendants, on a flower and butterfly ground, dates from the Kangxi period (1662-1722) and is estimated at £2,000-£3,000.
The House of Huanghuali takes its name from the indigenous wood of the same name, also known as the “yellow flowering pear,” a type of rosewood classified as Dalbergia odorifera. It was particularly prized in furniture of the Ming dynasty (1368-1644) and early years of the Qing dynasty (1644-1912). It is appreciated for its color, scent and distinctive grain. Its hardness allowed craftsmen to create elegant, slender yet strong pieces.
The collection includes a carved huanghuali chair with a reclining back and carved with a Shou character for longevity, a pair of plant stands and a horseshoe back two-seater sofa, each estimated at £1,000-£1,500.
Two large and rare 18th century portraits on canvas, which are illustrative of the respect and devotion the Chinese place in their ancestors, are featured in the collection. One depicts the male family to the right, the female line to the left; each ancestor is named in a rectangular cartouche. A four-character gilt mark in a blue cartouche at the top of the portrait translates as: “The ancestors’ appearance is still in our mind.” It measures more than 8 feet high and is estimated at £1,500-£2,500, as is a second, even larger ancestor portrait of the female side of a family, the cartouche reading: “Three generations of female ancestors.” It stands 9 feet tall. A 19th century ancestor painting depicting four figures, each with their birth and death dates ranging from Kangxi to Daoguang dynasty (1821-1850), is estimated at £500-£800.
The sale also includes a significant number of late 18th and early 19th century Asian textiles. One of the most important is also from the Singapore collection. The Chinese yellow and gold silk tapestry weave robe is decorated with the symbolically important eight dragons picked out in gold thread set in a representation of the universe in the brocaded fabric. The contrasting hoof form cuffs and collar are also finely embroidered with dragons and further emblems. The robe is estimated at £1,000-£1,500.
The remainder of the textiles are from a collection formerly kept at Hampton Court Palace. The top item is a large 19th century Japanese embroidered wall hanging, depicting a woodland landscape with stream and houses worked in silk long stitch within an applied dragon-patterned fabric border. It measures 80 by 56 inches and is estimated at £400-£600.
The auctioneer dispersed the European textiles in this collection in a previous sale, but reserved some pieces for the more relevant Asian auction. They include wall hangings and embroidered panels and tribal and other garments, notably a Chinese silk wedding jacket extensively embroidered in silver and gold and silk thread. It dates from the first quarter of the 20th century and is estimated at £150-£250.
The Asian sale catalog is now closed but unlike most other auctioneers, Ewbank’s operate a late entries system. All lots, including late entries, are illustrated on the Internet and live bidding is available.
For further information or to make an appointment to see a valuer, please contact the auctioneer on 01483 223101 or antiques@ewbankauctions.co.uk.
Large and rare Chinese ancestor portrait on canvas, stating: ‘the ancestors appearance is still in our mind’. Estimate: £1,500-£2,500. Ewbank’s image.
Chinese blue and white Yen Yen vase painted with mountainous landscapes, Kangxi, 1662-1722. Estimate: £3,000-£5,000. Ewbank’s image.
Pair of Chinese famille rose vases with dragon side handles, decorated with exotic birds amid flowering branches. Estimate: £1,500-£2,500. Ewbank’s image.
Chinese Tang dynasty Sancai figure of a Lokapala trampling a demon, A.D. 618-907. Estimate: £5,000-£8,000. Ewbank’s image.
Twentieth 20th Chinese carved huanghuali chair with reclining back, and carved with a Shou character. Estimate: £1,000-£1,500. Ewbank’s image.
Nineteenth century Japanese carved Ivory figure of Gama Sennin, signed on base with character marks. Estimate: £1,000-£1,500. Ewbank’s image.
Tibetan mandala with a central tantric figure surrounded by bodisatvas, buddhist monks and tantric figures, 17th-18th century. Estimate: £2,500-£3,500. Ewbank’s image.
Chinese famille verte baluster vase, with painted with two panels of an official with attendants. Kangxi period. Estimate: £2,000-£3,000. Ewbank’s image.
Charles Le Brun (French, Paris 1619–1690 Paris), ‘Everhard Jabach (1618–1695) and His Family,’ circa 1660, oil on canvas, 92 × 128 in. (233.7 × 325.1 cm). Purchase, Mrs. Charles Wrightsman Gift, 2014. Image courtesy of The Metropolitan Museum of Art
NEW YORK—Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that the Museum has purchased Charles Le Brun’s monumental portrait of Everhard Jabach and his family.
In making the announcement, Mr. Campbell said: “This magnificent canvas by the leading painter of King Louis XIV is a landmark in the history of French portraiture. It depicts the family of a major figure in the world of finance and one of the most important collectors in 17th-century Europe. Its acquisition transforms the Museum’s European paintings collection by adding a defining work both in the history of art and in cultural and political history.”
Keith Christiansen, John Pope-Hennessy Chairman of the Department of European Paintings, added: “The acquisition of Le Brun’s masterpiece transforms the Metropolitan’s collection of French painting. Its patron was a figure of immense importance: a German banker whose collection of paintings and drawings was sold to the French crown and forms the core of the Louvre’s collection. He deeply admired Le Brun, who in this picture included himself, reflected in a mirror, at work on the canvas, making the work the French equivalent of Velázquez’s Las Meninas—an allegory of the relationship between painter and patron and the act of painting. Its importance for the history of French baroque portraiture is equivalent to that of two other masterpieces in the Met’s collection—Jacques Louis David’s great neo-classical portrait of Antoine-Laurent Lavoisier (1743–1794) and His Wife (Marie-Anne-Pierrette Paulze, 1758–1836) and Renoir’s Impressionist portrait of Madame Georges Charpentier (née Marguérite-Louise Lemonnier, 1848–1904) and Her Children, Georgette-Berthe (1872–1945) and Paul-Émile-Charles (1875–1895).”
Charles Le Brun (1619-1690) was easily the most important painter at the court of Louis XIV. He supervised the decoration of major projects such as the Louvre and Versailles, and headed the Gobelins manufactory for tapestries and furniture. His work rarely appears on the market, since almost all of his major paintings reside in the collection of the Louvre. Last spring the Museum acquired The Sacrifice of Polyxena (1647), an early work by the artist in the field of history painting, in which he excelled. The newly acquired work is entirely different in character and ambition: it is a life-size family portrait of one of his principal, non-royal patrons. It dates from circa 1660, at the height of Le Brun’s career.
Among Le Brun’s works, Everhard Jabach (1618-1695) and His Family can only be compared to the portrait of Royal Chancellor Pierre Séguier on horseback accompanied by pages, which is in the collection of the Louvre and is illustrated in virtually every history of French painting. The newly acquired work—long thought lost—is comparable in importance to the Louvre picture and ranks as one of Le Brun’s masterpieces. It was admired by no less a critic than Sir Joshua Reynolds (1723-1792), who saw it during a visit to Cologne, where the picture was moved following Jabach’s death.
Everhard Jabach was a banker, patron, and collector of German origins. Born in Cologne, he was a naturalized French citizen who lived in Paris for most of his life. He built the imposing Hôtel Jabach at the corner of rue Neuve-Saint-Merry and rue Saint-Martin (designed by Pierre Bullet and now destroyed) as his main residence in the city—this is likely the setting for the family portrait. There he assembled one of the most significant collections of paintings of the second half of the 17th century in Europe. Jabach was Cardinal Mazarin’s (1602-1661) personal banker and followed the examples of his father and of Thomas Howard (1585-1646), second Earl of Arundel, in his collecting tastes. He was one of the chief buyers at the sale of the royal collection in London in 1650-51, after the beheading of King Charles I, purchasing, among other things, Leonardo da Vinci’s Saint John the Baptist, Holbein’s Portrait of Erasmus, Titian’s Concert Champêtre, Guido Reni’s Labors of Hercules, and Caravaggio’s Death of the Virgin. His first major collection (more than 100 paintings and about 6,000 drawings) was sold in two installments (1662 and 1671) to Louis XIV and provided the foundation of what is now the Musée du Louvre’s collection. Jabach’s second collection included 687 paintings and another 4,000 drawings, which were dispersed at his death.
Jabach was one of the great personalities of his age. He was portrayed twice by Van Dyck (1636, private collection; 1641, Hermitage, Saint Petersburg), by Peter Lely and possibly Sébastien Bourdon (both ca. 1650, Wallraf-Richartz Museum, Cologne), and by Hyacinthe Rigaud (1688, Wallraf-Richartz Museum, Cologne). Le Brun was one of the sitter’s favorite artists and the two were united—in the words of Claude Nivelon, Le Brun’s earliest biographer—by “friendship and shared interests” (‘il était uni d’amitié et d’inclination’). The family group was one of the few pictures Jabach did not sell to the King of France, and therefore one of the few that did not enter the collection of the Louvre.
The picture is at once a portrait of family relations and of a painter’s relationship to a key patron. The assemblage of objects lying on the floor at the feet of Jabach symbolizes his cultural interests: a Bible, an open copy of Sebastiano Serlio’s architectural treatise, a compass (architecture and geometry), a porte crayon and drawn sheet (drawing), an ancient marble head (sculpture), a book (literature and poetry), and a celestial globe (astronomy). Most prominent among these objects is a bust of Minerva, goddess of wisdom and the arts. She is identified by her distinctive helmet and the Medusa on her chest. Behind Jabach is the mirror in which we see Le Brun at work.
This canvas is a recent and major rediscovery for European art history. Le Brun painted two versions of the portrait—both for Jabach—and both evidently of comparable high quality. They were kept in the 18th century in two different family houses in Cologne, where they were seen by visitors to the city, including Goethe and Reynolds. The second version was acquired by the Kaiser Friedrich Museum in Berlin in 1836. Destroyed in 1945, during World War II, it is known today only from a black-and-white photograph. Until recently, the present version was considered lost. It was, however, in a private collection in England where it has been since the late 1790s, when Jabach’s descendent, Canon Johann Matthias von Bors of Cologne, sold it to Henry Hope (1735-1811) in London. Its provenance is unbroken. Because the present picture has not been easily accessible, the Berlin canvas has often been given precedence, though various scholars already recognized that the “lost” (present) version was probably the prime one.
After conservation and framing, Everhard Jabach (1618-1695) and His Family will go on view in the Metropolitan Museum’s European Paintings Galleries (Gallery 617) in 2015.
Extensive information about the painting is available on the Metropolitan Museum’s website, www.metmuseum.org.
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ADDITIONAL IMAGE OF NOTE
Charles Le Brun (French, Paris 1619–1690 Paris), ‘Everhard Jabach (1618–1695) and His Family,’ circa 1660, oil on canvas, 92 × 128 in. (233.7 × 325.1 cm). Purchase, Mrs. Charles Wrightsman Gift, 2014. Image courtesy of The Metropolitan Museum of Art
Herb Trimpe and Jack Abel, original art from ‘The Incredible Hulk’ #180, final page 32: the first-ever appearance of Wolverine. Auctioned by Heritage on May 16, 2014 for $657,250. Image courtesy of Heritage AuctionsDALLAS – The original artwork featuring the first ever appearance of Wolverine, by artists Herb Trimpe and Jack Abel, on the final page of The Incredible Hulk #180 (1974), arguably the most important debut of a comic book character in the last 40 years, tied a record for any page of American comic art and set a world record price for any page of interior comic art, by far, when it brought $657,250 (including 19.5% Buyer’s Premium) on May 16, 2014, at Heritage Auctions in Dallas.
It was sold to East Coast collector Thomas Fish, a sports card dealer.
“We knew when this artwork surfaced that is was, without doubt, one of the most significant pieces of original comic art ever drawn,” said Todd Hignite, Vice President of Heritage Auctions. “It has now brought a final price realized commensurate with that status.”
The final price realized by the piece ties the world record price also set by Heritage in July of 2012 for Todd McFarlane’s original 1990 cover art for The Amazing Spider-Man #328.
Another world record price was set in the auction for the highest price ever realized at auction for a piece of original comic strip art when Alex Raymond’s Flash Gordon Sunday comic strip original art, dated Aug. 28. 1938 (King Features Syndicate, 1938), a piece used to create a USPS 1995 comic strip classics stamp, decimated its $50,000+ pre-auction estimate to realize $215,100.
The top comic book offering in the auction came in the form of an exceedingly rare copy of Wonder Comics #1 (Fox, 1939) CGC NM 9.4, which realized $68,713. The issue featured the debut of Wonder Man, who appeared on the stands at the very same time as Batman, who premiered in Detective Comics #27. The Wonder Man character was perceived by the competition at DC Comics as having ridden on the coat-tails of their prized character Superman. Accordingly, Wonder Comics publisher Victor Fox was slapped with a lawsuit by DC (national Periodical) for infringement on the Superman character, causing Fox to withdraw his creation from future issues.
Further highlights of the Heritage sale included Winsor McCay’s Little Nemo in Slumberland Sunday comic strip original art dated 1906 (New York Herald, 1906), which brought $89,625, a new price record for the artist; Jack Kirby and Dick Ayers’ Incredible Hulk #5 Tyrannus “Beauty and the Beast” splash Page 1 original art (Marvel, 1962), finishing at $71,700; and the original art to a Bill Watterson’s Calvin and Hobbes comic strip, this one dated May 9, 1987 (Universal Press Syndicate, 1987), which doubled its’ $20,000+ to bring $47,800; and All-American Comics #16 (DC, 1940) CGC VG- 3.5, the key first appearance of Green Lantern, which realized $44,813.
Heritage Auctions is the largest auction house founded in the United States, and the world’s third largest, with annual sales of more than $900 million, and 850,000+ online bidder members. Visit them online at www.ha.com.
LONDON – Auction Zero is a new auction house giving potential consignors the opportunity to sell jewelry, gold, silver, gemstones, coins, gold bullion, antiques and objets de vertu with agreed reserves at no cost to the sellers.
That means free – free lotting, free photography and free online valuations.
Auction Zero says that, to its knowledge, it is unique in the auction industry, as it is the only auction house today that will offer to sell consigned goods free of all charges, but with agreed reserves.
The auctioneer is inviting consignments for inclusion in their debut June 26 sale. The deadline to consign merchandise is May 31.
Auction Zero, in partnership with www.liveauctioneers.com, is also offering Internet bidders the incentive of no additional buyer’s premium. The auction house will absorb the 3 percent Internet charge within their standard 20 percent buyer’s premium. Because Auction Zero believes the future of the auction industry worldwide online auctions, the London-based firm has decided to cover those extra expenses for bidding online.
Andy Warhol (American, 1928-1987), ‘Big Torn Campbell’s Soup Can (Black Bean),’ 1962, Kunstsammlung Nordrhein Westfalen, Dusseldorf. Image provided by Museo Thyssen-Bornemisza.
MADRID – This summer, the Museo Thyssen-Bornemisza is presenting Pop Art Myths, the first exhibition on this subject in Madrid since Pop Art at the Museo Reina Sofía in 1992. More than 20 years later, the exhibition’s curator Paloma Alarcó, Head of Modern Painting at the Museo Thyssen-Bornemisza, will offer a reassessment of this artistic trend from a 21st-century viewpoint.
Featuring more than 100 works ranging from pioneering British pop art to the classic American version and its expansion into Europe, the exhibition aims to trace the shared sources of international pop art and undertake a revision of the myths that have traditionally defined the movement. It will reveal how the legendary images created by artists of the stature of Warhol, Rauschenberg, Wesselmann, Lichtenstein, Hockney, Hamilton and Equipo Crónica, among many others, conceal an ironic and innovative code of perception of reality and one that still prevails in contemporary art today.
The exhibition is sponsored by Japan Tobacco International (JTI) and will include works from more than 50 museums and private collections around the world, with important loans from the National Gallery of Washington, the Tate, London, the IVAM, Valencia, and the prestigious Mugrabi Collection in New York, to name but a few.
Andy Warhol (American, 1928-1987), ‘Big Torn Campbell’s Soup Can (Black Bean),’ 1962, Kunstsammlung Nordrhein Westfalen, Dusseldorf. Image provided by Museo Thyssen-Bornemisza.
”The Right Reverend James F. Loughlin’ (1902), by Thomas Eakins, one of the portraits to be sold by St. Charles Borromeo Seminary. Image courtesy of Wikimedia Commons. PHILADELPHIA (AP) – Descendants of Msgr. Patrick Garvey are challenging the Archdiocese of Philadelphia’s plans to sell a portrait of Garvey painted by Thomas Eakins.
The Philadelphia Inquirer reports that former federal prosecutor Robert E. Goldman is helping the family and says that the seminary does not own the portrait from 1902. He says that the portrait was given to St. Charles Borromeo Seminary to be exhibited, not sold.
The Archdiocese announced plans in March to sell part of the art collection at its St. Charles Borromeo Seminary, including five portraits by Eakins.
Archdiocese spokesman Ken Gavin says the portrait was given to the seminary by Garvey’s nephew.
Church officials said they plan to use the money to help overhaul the seminary’s St. Charles’ Main Line campus.
