Tag Archives: Heritage Auction

Warhol, Lichtenstein Art Auction look back

January 11, 2021 The Silo Leave a comment

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

Supplemental- Apple logo designer dishes on history http://www.macworld.com/article/1142322/logo_design.html

Earth

Heritage Auction Combined Fluorite Specimen With Associated Painting

November 22, 2017 The Silo Leave a comment

Discovered at the Elmwood Mine, Carthage,Tennessee, USA

Despite a production history spanning several decades, the number of exceptionally fine and large specimens that have been recovered at Elmwood is actually quite small. The mine is known for specimens combining Fluorite, Sphalerite and Baryte in aesthetic combinations which play off the different colors, forms and surface luster that each of these minerals brings to the mix.

Here, we have a significant Fluorite cluster of cubic form composed of pale yellow core material overlain with a thin veneer of violet color. Next to it is a radiating group of dark red Sphalerite crystals of pyramidal form and adamantine luster. To complete the ensemble, there are rounded Baryte aggregates of an off-white hue and granular texture, artfully arranged around the edges of the Fluorite, which is quite transparent, as any side or back lighting will prove, while the Sphalerite displays an almost metallic luster with glints of deep red that serves as a counterpoint to the two other minerals.

The Natural World has a long history of inspiring artists.

This museum quality specimen was hidden away in a private collection for many years and has just recently been cleaned with modern cleaning techniques to reveal the top level caliber of the piece. This is fresh to market, as it has never been offered to the public for sale. Condition is excellent with only minor nicks and chips. The specimen managed to captivate noted Dallas artist: J.D.Miller enough that he immortalized it via a acrylic painting reminiscent of the Impressionist works of Van Gogh and the like. The specimen is accompanied by this amazing painting, as well as a custom acrylic stand.

Opening bid with buyer’s premium was $125,000 (usd).

Overall Measurements: 10 x 12 x 8.5 inches (25.4 x 30.48 x 21.59 cm)
Painting Measurements: 52 x 64 inches (132.08 x 162.56 cm)
Estimate: $200,000 – $250,000.

Culture

Heritage Auction Featured Renoir’s Personal Items

September 6, 2013 The Silo Leave a comment

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 — 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 single largest archive of Pierre-Auguste Renoir’s personally-owned objects — from his signature polka-dot scarf to the original plaster maquette of La Grande Venus Victrix — will highlight an expansive grouping dedicated to the Impressionist icon in Heritage Auctions’ The Renoir Estate Collection Signature® Auction, Sept. 19 in New York.

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.

Together, Renoir and Guino selected which drawings and paintings would work as sculptures, and they set to work. Included among the sculptural offerings is likely the auction’s top lot — a 72 inch tall original plaster maquette for La Grande Venus Victrix, the Roman goddess.

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. — 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.

Among the maquettes, Heritage is offering “Coco,” one of the only plaster maquettes that Renoir produced himself, depicting his young son Claude.

The staggering amount of life documents, awards and ephemera includes rarities such as an American Medal of Honor awarded to Renoir at the 1883 Foreign Exhibition and an album of candid family photographs featuring Henri Matisse among other notable artists of the day. The archive also includes rarely seen objects likely made for the artist’s eyes only, such as a diminutive polychrome ceramic vase and sugar bowl thrown and painted with his son, Jean, at Les Collettes as Jean recuperated from War injuries at Les Collettes.

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 — 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

Comics

Comic Auction Featured Jack Kirby Drawings Connected To Argo Film

July 9, 2013 The Silo Leave a comment

Dynamic Duo: Finest Batman #1 Known, Frank Miller’s Dark Knight #2 Cover Art May Each Hit $500,000+ In Heritage Comics & Comic Art Event

A Dynamic Duo of Dark Knight treasures, led by the highest-graded copy of Batman #1, ever certified in 9.2 grade, and Frank Miller’s original cover art for The Dark Knight Returns #2, 1986, are expected to bring $500,000+ each in Heritage Auctions’ Comic and Comic Art Auction Aug. 1-3.

“Whenever you offer the highest-graded copy of one of the top comics in the hobby you can bank on fierce bidding,” said Barry Sandoval, Director of Comics Operations for Heritage Auctions. “This auction is an ideal hunting ground for elite collectors and the 9.2 grade example of Batman #1 represents the quality offered throughout the entire event.”

A landmark edition in the halls of American pop culture, Batman #1 features the first appearances of both the Joker and Catwoman, among the very few comic book villains to have attained true “household name” status. It is expected to reach $500,000+.

A worthy follow up to such an iconic comic book is Frank Miller’s iconic original cover art to The Dark Knight Returns #2, which also is expected to bring $500,000+. The instantly recognizable image of Batman, crippled with rage, is one of several pieces of original art from the groundbreaking Dark Knight series offered by Heritage in the last year.

“For fans of Modern comics, this drawing is where everything really begins,” said Todd Hignite, Vice President at Heritage Auctions. “This moment defines Miller’s Dark Knight, and the modern day perception of Batman, like no other drawing. The only one that comes close, perhaps, is the iconic Splash page from Dark Knight #3, featuring both Batman and Carrie Kelley (Robin), which we sold two years ago for $448,125.”

Among the high-grade examples of the most coveted comic books ever produced comes a near pristine copy of an increasingly popular comic book, Avengers #1 — in stunning 9.4 grade — is expected to realize $175,000+; a 9.4 grade copy of Tales of Suspense #39, the first appearance of Iron Man, which is expected to bring $100,000+; a rare, 9.0 grade copy of Walt Disney’s Comics and Stories #1 may fetch $30,000+ as the finest copy in a remarkable run that also includes a 9.4 grade of issue #2 and a 9.2 grade of issue #3 from the series, both of which are the highest-graded copies.

A collector’s pick of high-grade examples continues as the only 9.8 grade copy of Marvel Spotlight #5, the first appearance of Ghost Rider, is expected to realize $25,000+.

In addition to the dramatic cover from Dark Knight #2, the auction’s offering of original art includes a remarkable movie poster painted by Frank Frazetta for The Night They Raided Minsky’s. Frazetta usually worked in much smaller sizes, making this 38-inch by 28-1/2-inch poster from 1968 an extreme rarity expected to bring $150,000+.

Robert Crumb’s complete 1968 original art for a five-page story titled “City of the Future,” initially stolen from Crumb and slated for Zap Comix #1, is expected to reach $100,000+. Fresh-to-market original cover art from titans Carmine Infantino and Joe Giella from The Flash #117, from 1960, is expected to realize $50,000+ in its first appearance at auction.

Perhaps two of the most anticipated lots link to The King of Comics himself, Jack Kirby, to a covert Iranian rescue operation as depicted in the Academy Award-wining film Argo [ See a nod to Canada’s connection in Ben Affleck’s acceptance speech below CP].

The film tells the story of how the CIA used a fake movie production crew to conceal a daring rescue mission of six Americans held in Iran. The “movie within a movie” was at one time a genuine project titled “Lord of Light,” based on the novel by Roger Zelazny. Producer Barry Geller commissioned Jack Kirby to create a set of concept drawings for the film, but the project stalled and was mostly forgotten, until the CIA used it in their top-secret mission. Two of Kirby’s original oversized concept scene drawings for the project — “Pavilions of Joy” and “Planetary Control Room (Interior)” — remain testaments to his signature style and are expected to bring $10,000+ each.

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