Monaco, French Riviera – A couple of months ago on Saturday, June 8th, artworld history was made during the prestigious auction “L’Astarossa” organized by Monaco Car Auction at the Grimaldi Forum.
A photographic work by artist Philippe Shangti reached a new peak.
The photograph, a unique piece titled “Luxury Pollution Car, Signature Masterpiece,” was sold for the hammer price of €290,000 / $435,000 CAD, a world record- making Philippe Shangti the highest valued contemporary French photographer.
The event “L’Astarossa” was primarily dedicated to Ferrari collector cars but also featured artworks related to the Ferrari theme.
The centerpiece of this artistic sale, “Luxury Pollution Car,” is a composition featuring the La Ferrari car with models in Shangti’s inimitable style. The print, called “Signature Masterpiece” by the artist, is printed on museum certified paper and traced with a hologram, signed, and numbered 1/1 on the back by Shangti himself. It measures 259 x 110 cm, and 267 x 128.5 cm with its baroque wood frame and molding.
This record comes just a few months after Shangti had already broken his own record.
Indeed, on March 8th, one of his photographs titled “Luxury Fifth Dinner,” a print numbered in an edition of 7, sold for €54,000 / $81,000 CAD at Drouot Paris. The auction of the photograph “Luxury Pollution Car” marks a historic milestone, being the highest ever recorded for a living French photographer, held before by Gerard Rancinan. This recognition strengthens Philippe Shangti’s position on the international art scene and highlights the growing appeal of his works among collectors and art enthusiasts.
Have you ever dreamed of owning a piece of fine art but felt that it was out of reach financially? An art auction may be the answer to your dreams! Art auctions are an excellent way to purchase original artworks without breaking the bank. With the right approach, art auctions can be a great way to build a collection of art and save money.
The benefits of an art auction
For those who are looking to add to their art collection or simply just want to try something new, art auctions can be an excellent way to obtain art. Art auctions offer a unique opportunity to purchase artwork from all over the world at competitive prices. With a broad selection of works to choose from, they provide an exciting and engaging experience.
One of the main advantages of attending an art auction is that buyers have the chance to buy authentic artwork without the risk of buying a counterfeit piece. This can save buyers both money and time since they don’t need to worry about being scammed by an online seller.
Auctions also provide an opportunity for the buyer to get to know the artist and their work, as well as to discuss any questions with auctioneers or knowledgeable collectors.
How to participate in an art auction
Attending an art auction is a great way to find unique and valuable pieces of art. But it can be intimidating if you’ve never attended one before. Here are some tips to help make sure your first experience at an art auction is a successful one. Before you attend the auction, take some time to research the artwork that is being offered. Learn about the artist and the piece you are interested in. Knowing what you are bidding on can help you make informed decisions during the auction.
The difference between an art auction and an online sale
Auctions and online sales both offer a great way for art collectors to purchase artwork, but there are some key differences between the two. An art auction is a live event where bidders compete in a competitive environment to purchase pieces of art. Bidding is fast-paced and participants must be willing to pay the highest price in order to secure the artwork they desire.
Online sales are much different in that they are usually conducted over a longer period of time. Instead of a competitive environment, buyers have the opportunity to browse through the artwork and make their selections at their own pace. This allows buyers to take their time, research the piece, and evaluate whether it’s worth purchasing or not.
Furthermore, buyers may be able to negotiate a lower price as they may not have to compete with other bidders. Another difference between an art auction and an online sale is that auctions are typically reserved for more expensive pieces of art, while online sales tend to feature more affordable artwork. As a result, those who want to purchase high-end artworks may find it more beneficial to attend an art auction than to purchase from an online store.
Almost one decade ago: Andy Warhol’s “Endangered Species and Ads” prints bring a combined $677,000 USD alone at this notable Modern and Contemporary Art event.
Two complete portfolios by Andy Warhol, Endangered Species, 1983 and Ads, 1985, sold for $338,500 USD each to far exceed their estimates among a field of fresh-to-market iconic works during Heritage Auctions’ $2.9 million USD Modern and Contemporary Art Signature® Auction, May 22 in Dallas.
The auction sold 90% by value and 78% by lot.
Close up of one of the ten screenprints up for auction by ANDY WARHOL (American, 1928-1987) Ads, 1985 Portfolio of ten screenprints on Lenox Museum Board 38 x 38 inches (96.5 x 96.5 cm) Ed. 50/190 Each signed and numbered in pencil Printed by Rupert Jasen Smith, New York Published by Ronald Feldman Fine Arts, Inc., New York PROVENANCE: Private collection, Texas LITERATURE: Feldman & Schellmann, II.350-359 Warhol, Andy:. American painter, photographer, filmaker and publisher, 1928-1987
ANDY WARHOL (American, 1928-1987)
Ads, 1985
Portfolio of ten screenprints on Lenox Museum Board
38 x 38 inches (96.5 x 96.5 cm)
Ed. 50/190
Each signed and numbered in pencil
Printed by Rupert Jasen Smith, New York
Published by Ronald Feldman Fine Arts, Inc., New York
PROVENANCE:
Private collection, Texas
LITERATURE:
Feldman & Schellmann, II.350-359
Warhol, Andy: American painter, photographer, filmaker and publisher, 1928-1987
Condition Report*:
With original Ronald Feldman Fine Arts, Inc. cardboard portfolio box and index print. All screenprints unframed and in good condition with specifics listed below. Mobil: Minor rubbing 3/8″ in due to former frame. A few incidental surface scratches and rubs. One 5/8″ abrasion, resulting in very minor loss. Paramount: Minor rubbing 3/8′ to 1/2″ due to former frame. Very minor bumping to bottom right corner. Chanel: 1/2″ to 1″ light rubbing due to former frame. Slate purple backgrund has hazy toning, beginning about 1/4″ in. Apple: Very minor incidental rubbing to edge. Rebel Without A Cause (James Dean); Van Heusen (Ronald Reagan); Blackglama (Judy Garland): All have only very minor edgewear. Volkswagen; Life Savers: Very minor surface rubbing and edgewear. Donald Duck: Very minor edgewear. Top corners have minor wear. Light handling creases. Some wrinkling and an indentation at end of signature. Left side center shows some moderate wrinkling and creases with some minor loss, beginning at 11″ from the bottom up to 24″, and affecting 3″ into the work. The face and body of Donald Duck is affected somewhat, as well as the background near edge. Light wear in top left corner and a small abrasion on middle right side. Unframed
Two works by Ed Ruscha responded well among buyers as his gunpowder on paper titled Rustic Pines, 1967, realized $290,500 USD and a color screenprint, Double Standard, 1969, sold for $182,500 USD , setting a record for the work. Mel Ramos’ Georgia Peach, 1964, fresh from a Texas collection, sold for $158,500 USD.
“The market for good contemporary art doesn’t seem to have hit any ceiling,” said Frank Hettig, Director of Modern and Contemporary Art at Heritage. “Our focus is presenting fantastic, fresh-to-market discoveries and bidders certainly responded in kind. It gives us high expectations for our November 2 Modern and Contemporary auction in Dallas.”
Among the modern masterpieces in the auction, the magnificent, 7-foot Cobalt Chandelier, 2003, by Dale Chihuly reached $158,500 USD. It is the largest Chihuly chandelier to appear on the secondary market and was offered through a federal court-appointed receivership overseeing the sale of assets previously owned by R. Allen Stanford of Stanford Financial Group.
Forms in Space by Lichtenstein earned $53,125.
Roy Lichtenstein’s Forms in Space, 1985, a screenprint published by the artist for the Institute of Contemporary Art’s Rally round the Flag benefit, achieved $53,125 USD and Georges Rouault’s Chemineau, 1937, realized $40,625 USD.
Here’s a look at what some Lichtenstein’s other pieces sold for.
Sculptural art performed well as Étienne Hajdu’s La Mer, 1964, sold for $35,000 USD and Pablo Picasso’s Vase deux anses hautes, 1953, sold for $30,000 USD while Robert Graham’s Frieze Figure I-G, 1989/1990, brought $21,250 USD.
So what is that Volkswagen Warhol worth today in 2021? It’s hard to pen the value but in Spring 2019 one single print ad brought 30,000 UK Pounds ( 52,000 $ CAD) in a Christie’s auction.
ROY LICHTENSTEIN (American, 1923-1997)
Forms in Space, 1985
Screenprint in colors on Rives BFK paper
31 x 47-1/2 inches (78.7 x 120.7 cm)
Ed. 35/125
Signed, dated and numbered in pencil
LITERATURE:
Corlett, 217
NOTE:
Published by the artist for the Institute of Contemporary Art, University of Pennsylvania, Philadelphia.
Forms in Space has been created especially in honor of ICA’s benefit, Rally round the Flag (label on frame verso) .
Lichtenstein, Roy:. American painter, printmaker; born 1923 in New York City, died 1997 in New York City
Condition Report*:
Sheet: 35.75 x 51.5 A crease in upper center at extreme sheet edge; small pressure mark at lower right corner; lower right corner lightly bumped; paper lightly undulates; framed. Framed Dimensions 36.25 X 52.5 Inches
PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Grande Vénus victorieuse (Large Venus Victorious), 1914-15 Original plaster 71 inches (180.3 cm) high Published by Vollard, Paris THE RENOIR COLLECTION With her weight rested on her right hip, holding a drape in her left hand and the golden apple in her right, this standing female nude is said to be the culmination of Renoir’s sculptural works. Transforming paradox into perfection, Renoir marries contradictory attributes to personify his idea of female quintessence. Vénus victorieuse the Woman is majestic yet simple, engaged and yet isolated, familiar but also obscure. With this sculpture, Renoir redefines classical theme and form to portray the eternal beauty of Woman – a leitmotiv apparent in much of his work. LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 24, no. 6, illustrations of another cast pls. XIV-XXI. NOTE: This original foundry plaster is not copyright protected. images :ha.com
The collection is an intimate glimpse inside the personal and professional life of the master painter through a trove of important documents, including his marriage certificate, photographs and letters written to Renoir from friends and contemporaries such as Monet, Manet, and Rodin. The collection also features a selection of original sculptural plaster maquettes created at Renoir’s estate in Cagnes, France, in the twilight of his career. Battling severe arthritis, Renoir collaborated with a young and able-handed artist, Richard Guino, at his dealer Ambroise Vollard’s suggestion.
This museum-level collection is superb in its completeness and reveals volumes about the man and his art,” said Brian Roughton, Managing Director of Fine Art at Heritage Auctions. “It touches every corner of his life and represents the last time this collection will appear assembled ever again. In addition to the personal letters and objects, we’re also thrilled to have the opportunity to offer 20 carefully collected original plaster maquettes.”
PIERRE-AUGUSTE RENOIR (French, 1841-1919) Médaillon de Coco Piece Mold & Original Plaster of Relief, 1907 Original plaster 8-1/2 inches (21.6 cm) (relief diameter) 11-1/2 inches (29.2 cm) (diameter with borders) Published by Hodebert, Paris & Flechtheim, Berlin THE RENOIR COLLECTION Renoir’s first sculptural work, this medallion and the bust of his youngest son, Claude “Coco” Renoir are the only two sculptures Renoir executed entirely with his own hands. The work was intended to decorate the fireplace in the dining room of Les Collettes at Cagnes, where it was displayed once finished. Estimate: $20,000 – $30,000. LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 19, no. 1, illustration of another cast pl. III.
Renoir’s pince-nez, spectacles popular in the 19th century supported without earpieces by pinching the bridge of the nose, in a hinged leather case with royal purple velvet lining. Estimate: $1,000 – $1,500. Artist Unknown:. Condition Report*: 4.25 x 1.5 inches
