Turner Auctions + Appraisals sale to feature wildlife art July 14

Artist: Peter Markham Scott (1909-1989) ‘Wigeon Tearing In,’ oil on canvas, 20in. x 30in, frame: 25in. x 35in., 1988. Estimate: $3,000-5,000. Turner Auctions + Appraisals image

SOUTH SAN FRANCISCO, Calif. – Turner Auctions + Appraisals will present Decorative Arts and Wildlife Art in a two-part estate sale on Sunday, July 14, at 10:30 a.m. Pacific Time. Offering 210 lots, the sale features a diverse range of items, mostly from two estates. Bid absentee or live online through LiveAuctioneers.

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Tate St Ives announces plans for Art Fund prize money

Another Hurling of the Silver Ball. Copyright Tate. Photo by Kirstin Prisk
ST. IVES, U.K. – Tate St Ives announces it will use the £100,000 Art Fund Museum of the Year 2018 prize money to develop a new community strategy with artists at its heart. The funds will support artist-led projects designed for, and in collaboration with, the communities of St Ives, alongside specially-commissioned public artworks in and around the gallery. The program will deepen the gallery’s longstanding commitment to local audiences, as well as honoring the unique history of St Ives as a place where artists put down roots.

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Gallery Report: G.C. Ault street scene sells for $336,500

ATLANTA – At the start of each month, ACN columnist Ken Hall gathers top auction highlights from around the United States and beyond. Here’s what made headlines since last month’s Gallery Report (prices include the buyer’s premium unless stated otherwise):

George Copeland Ault painting, $336,500, Hindman LLC

A painting by George Copeland Ault (American, 1891-1948) titled Morning in Brooklyn sold for $336,500 at an American & European Art Auction held May 23 by Hindman LLC in Chicago, Ill. It was a wonderful example of the artist’s time in New York. Also, The Clammer by Andrew Newell Wyeth brought $137,500; L’Anneau de Jade by Vu Cao Dam rose to $62,500; La Clairiere by Henri Maik realized $32,500; and The Rovers of the Ardennes by Alexandre Cabanel went for $45,360.

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Parade of fiberglass cows returning to Chicago

Cattlyst of the West, a giant artwork by Irene Gallagher, was one of the bovines featured in a past Cow Parade in Denver. Photo by SailSomewhere, licensed under the Creative Commons Attribution-Share Alike 4.0 International license

CHICAGO (AP) – A herd of fiberglass cows is returning to Chicago to mark the 20-year-anniversary of a popular display of brightly painted faux bovines that inspired other cities worldwide to line their streets with their own statues of everything from lobsters to pigs.

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California artworks draw robust bidding at Moran’s auction June 23  

William Glen Crooks (1952-, American), ‘Cross Over,’ 1996. Price realized: $4,375. Moran’s image

MONROVIA, Calif. – Moran’s Studio Fine Art auction continues to attract collectors from around the world. Postwar works realized the strongest prices at the June 23 sale, showing the market remains strong as California and American fine art continue to inspire strong bidding. Absentee and Internet live bidding was available through LiveAuctioneers.

Collectors of California fine art found plenty of tempting options in the sale. A colorful work from Jean Mannheim of a sailing ship in a harbor sold for $4,062. A more contemporary interpretation of California Plein Air paintings from William Glen Crooks stole the hearts of the audience, one of whom bought a stellar landscape for $4,375 (above). All prices realized include Moran’s 25% buyer’s premium.

A gorgeous Lockwood de Forest beachscape titled Full Moon Cove at Santa Barbara was one of the most popular lots on preview. The blue-hued painting brought $6,250 (below).

Lockwood de Forest (1850-1932, Santa Barbara, Calif.), ‘Full Moon Cove at Santa Barbara,’ 1909. Price realized: $6,250. Moran’s image

Postwar and contemporary works attracted the most robust bids of the day. No. 117 painted in 1959 by famed Spanish artist Luis Feito López is a dramatic work in contrasting tones of black, gray and white and was exhibited in 1959 at the inaugural Paris Biennale. The mixed media work created a bidding war with one determined buyer surpassing the $30,000-$50,000 estimate to nab the painting for $68,750.

Luis Feito López (1929-, Spanish), ‘No. 117,’ 1959. Price realized: $68,750. Moran’s image

A graphic acrylic on canvas from Antonio Saura created a similar stir when it hit the block. The work sold to an online bidder for $40,625.

Antonio Saura (1930-1998, Spanish), ‘Retrato #112,’ 1960. Price realized: $40,625. Moran’s image

“Watt Hour Icon” depicting an electric meter from American artist Bruce Everett realized $3,900.

European artists commanded attention at the auction. A beautifully serene Jean Vollet painting of Chateau de Sully (Loiret), caused a bidding war between two floor bidders causing the work to soar past its $400-$600 to bring $3,125.

Jean Vollet (1935-, French), ‘Chateau de Sully (Loiret),’ 2007. Price realized: $3,125. Moran’s image

A vivid floral still life from Alexandre Renoir, great-grandson of the famed Impressionist Pierre-Auguste Renoir, brought $1,250 at the auction.

Alexandre Renoir (1974-* French), ‘Bouquet of Sunset Flowers,’ 2011. Price realized: $1,250. Moran’s image

A snowy Paris was the subject of Armand Henri Leroux’s painting The City in Winter, and realized $1,000 at the block.

A graphic print from Alexander Calder executed in 1967 soared past its $300-$500 estimate to bring $1,125.

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Tate Modern to host first UK retrospective of Dora Maar

Dora Maar, Untitled, circa 1933, photograph, gelatin silver print, harvard Art Museums/ Fogg Museum, Richard and Ronay Menschel Fund for the Acquisition of Photographs. Copyright ADAGP, Paris and DACS, London 2019

LONDON – This autumn, Tate Modern presents the first UK retrospective of the work of Dora Maar (1907–97) whose provocative photographs and photomontages became celebrated icons of surrealism. Featuring over 200 works from a career spanning more than six decades, this exhibition shows how Maar’s eye for the unusual also translated to her commercial commissions, social documentary photographs, and paintings – key aspects of her practice which have, until now, remained little known.

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