Robert Manley, Head of Evening
Sale, with Lot
45, “Silver Liz” (estimate $10/15 million) by Andy Warhol
By
Michele Leight
This evening sale of
Contemporary Art at Christie's May 11, 2010 was preceded by the sale of
"Works of Art from the Michael Crichton Collection" (see The City Review article),
which was highlighted by major works by Jasper Johns and Pablo Picasso.
There
was a total of 79 lots offered in both the Crichton and Contemporary
Art auctions of which 74 sold for a total of $231,907,000.
The Contemporary Art sale is
highlighted by several works by Andy Warhol, three very good works by
Jean-Michel Basquiat, a fine Roy Lichtenstein, a large Lee Bontecou, a
very nice portrait by Gerhard Richer, two excellent works by Kusama, a
major painting by Yves Klein, two small but excellent works by Jasper
Johns and an impressive Robert Rauschenberg.
Robert Manley,
Head of Evening Sale, said the 49 works of art in the various owners
sale are
expected to achieve around $146 million. There are so many gems being
offered
at both sales this evening, it is hard to decide which works of art to
feature
and write about. If an art gem is not featured here, it has nothing to
do with
how great a work of art it is.
Lot 45, "Silver Liz," is
a large portrait of Elizabeth Taylor by Andy Warhol (1928-1987).
It has an estimate of $10,000,000 to $15,000,000. It sold for
$18,338,500 including the buyer's premium as do all results
mentioned in this article. A spray enamel, synthetic
polymer and silkscreen inks on linen in two parts that measure overall
40 by 80 inches, it was painted in 1963. It was once in the
collection of Mr. and Mrs. Horace H. Solomon of New York.
According to the catalogue
entry, it "is one of Andy Warhol's most alluring works, conceived out
of his obsession for one of Hollywood's most glamorous stars."
"It is a shimmering icon of the Pop Art movement that conains
many of Warhol's key ideas and theories" and "combines his love of
celebrity and popular culture with an early example of his silkscreen
work in one glittering work."
Mr.
Manley said that “Silver Liz” was once in the collection of Holly
Solomon, the
legendary art dealer, and that Andy Warhol based
this incredibly elegant
composition on the film strip idea: he could make it twice as big and
charge
twice as much! Clearly Andy Warhol is good for all businesses, he
believed in
consumers, he wanted art to belong to the masses, and he is always fun
for
those that love art.
Of
this gorgeous depiction of one of the world’s most memorable movie
stars Manley
added:
“With
an estimate of $10-15 million, we are bullish on its prospects.”
When
someone commented that there seemed to be an
unusually high number of stellar works on offer, Robert Manley said:
“People
believe now is a good time to sell...it started in February in London,
where 85 to 90 percent of the
artworks did better than their high estimates,” adding:
“Crichton
is the story of the season, and many consigners
wanted to be part of the excitement, said Manley:
“I
have been after this work for years” (Lee Bontecue’s
“Untitled,” Lot 40, 1962), which comes from the Abrams Family
collection. The family
felt now was a good time. When they heard we had the Crichton
Collection, they
wanted to be part of that excitement...”
Lot 51, "Holly Solomon," by Andy Warhol, 9 panels, acrylic,
silkscreen ink and graphite on linen, each 27 inches square, 1966
Another major Warhol is Lot
51, "Holly Solomon," which consists of nine differently colored panels,
each 27 inches square. Created in 1966, it is acrylic,
silkscreen ink and graphite on linen. It has an estimate of
$7,000,000 to $12,000,000. It is a portrait of the "legendary
New York art dealer and socialite Holly Solomon, based a single photo
booth picture....[It] is one of the most celebrated works in the
artist's series of silkscreen portraits of art world figures and movies
stars of the 1960s....In 1966, the year Warhol completed her portrait,
Holly Solomon was an aspiring actress who, together with her husband
Horae Solomon, had started to build an extensive collection of Pop
art." The catalogue entry also notes that Holly went with
Warhol to Broadway and 42nd Street in New York with $25 in quarters to
tst each of the phone booths to find the one with the correcct exposure
that Warhol required for the look he was trying to
achieve....Originally Solomon had wanted Warhol to use her portrait as
the basis for a wallpaper to cover the walls of her apartment.
Fearing that the resulting iages of her would be too small,
she also askedAndy to producelarger paintings that theycould hang over
the wallpaper." He produced eight and later a ninth, all of
which the Solomons bought and then put together for this work.
It sold for $5,458,500 to Jon
Colby who, according an article by Carol Vogel that appeared in the May
12, 2010 edition of The
New York Times, had bid unsuccessfully on "Silver Liz."
Lot
42, "Self Portrait," by Andy Warhol (1928-1987), diptych, synthetic
polymer, metallic paint and silkscreen inks on canvas, 20 by 32
inches, 1964
Lot 42 is a double
self-portrait by Andy Warhol that was painted in 1964. A
synthetic polymer, metallic paint and silkscreen inks on canvas, it
measures overall 20 by 32 inches and was once in the collection of
Robert C. and Ethel Scull of New York. Ethel Scull was the
subject of Warhol's 1963 painting "Ethel Scull 36 Times." It has an
estimate of $5,000,000 to $7,000,000. It sold for $5,682,500.
Lot
35, "Anthropometrie 'Le Buffle' (ANT 93)," by Yves Klein, pigment and
resin on paper laid down on canvas, 70 by 110 3/8 inches, 1961
Lot 35 is a huge
painting by Yves Klein (1928-1962) entitled "Anthropometrie 'Le Buffle'
(ANT 93), which was created by the artist dragging a naked model
covered in his famous deep blue pigment (IKB) on paper laid down on
canvas. It measures 70 by 110 3/8 inches and was created in
1961. It has an estimate of $8,000,000 to $12,000,000.
Brett
Gorvy and Laura Paulsen of Christie's standing in front of the Klein
The catalogue provides the
following commentary:
"...[The
canvas] has been vigorously smeared across by naked models, their
bodies' imprints merging together to form a colossal, abstract entity
that conveys some notion of orgiastic energy. This work
belongs to a small group within the wider bracket of the Anthropometries,
Klein's last great sies, referred to as the Anthropophagies.
This reference to cannibalism was explicity contained in the
titled of the closely-related Anthoropophagie
grande bleue: Hommage ŕ Tennessee Williams, now in the
enter Georges Pompidous, Paris; another simialr work is in the
collection of the Guggenheim Museum, Bilbao....Klein was one of the
greatest artistic pioneers in the Post-War period, pushing back the
boundaries of what art could and indeed should do. As well as
the highly influential use of ritual in his artistic oeuvre
and in using new media such as air, sponges and fire, Klein
revolutionized the nature of painting itself. In an era that
was marked by such developments as the drip painting of Jackson
Pollock, the Informel
movement and the iconoclastic innovations of his own friend Piero
Manzoni, Klein made several inredibly influential leaps within the
field of paniting especially in the form of his monochrome
works and his
Anthropometries....It is perhaps with reference to ancient
art that Klein named this work the 'Buffalo': the flicking limbs
visible at the right of the picture recall the legs of the running
bison dating from 14,000 years ago in the caverns of Lascaux...."
The
first major retrospective of the
artist’s work, “Yves Klein: With the Void, Full Powers,” which will be
held at
the Hirshorn Museum and Sculpture Garden, Washington D.C., from 20th
May-12 September, 2010, and The Walker Art Center, Minneapolis, from 23
October
2010-13 February 2011.
The lot
sold for $12,402,500.
Robert
Manley,
Head of Evening Sale, said the 49 works of art in the various owners
sale are
expected to achieve around $146 million. There are so many gems being
offered
at both sales this evening, it is hard to decide which works of art to
feature
and write about. If an art gem is not featured here, it has nothing to
do with
how great a work of art it is.
Lot 48, “Untitled,”
by Robert Rauschenberg, combine painting, oil, printed paper and fabric
collage with dried grass on wood box, 15 1/2 by 14 7/8 by 2 inches, 1954
Lot 48 is a good untitled
combine painting by Robert Rauschenberg (1925-2008). It is
extremely beautiful but small with a pretty hefty price tag, but it is
a gem. It measures 15 1/2 by 14 7/8 by 2 inches and was
executed in 1954. The
catalogue entry notes that this was made in the first year that the
artist started producing his combines that "as Roy Lichtenstein was
later to point out, effectively signified the end of Abstract
Expressionism," adding that "Similarly,it was these work that in
introducing real elements from the artist's own life and even later,
the element of time into the concept of painting ultimately opened the
door to an art that operated in a far wider arena of activity and
possibility, laying the foundations for much of the art, happenings and
performances of Nouveau Realism, Pop, Fluxus, and even Arte Povera,
that followed." The lot has an estimate of $3,500,000 to
$4,500,000. It
sold for $4,562,500.
Lot 53,
“Untitled,” by Mark Rothko, oil on paper laid down on panel, 37 3/4 by
25 7/8 inches, 1959
Lot 53 is a
strong untitled abstraction by Mark Rothko (1903-1970) that is an oil
on paper laid down on panel. It measures 37 3/4 by 25 7/8
inches and was painted in 1959. It has an estimate of
$3,500,000 to $4,500,000. It
sold for $4,786,500.
Lot 41, "No. Red Q," by Yayoi Kusama, oil on canvas, 41 1/4
by 61 3/4 inches, 1960
Yayoi Kusama (b. 1929) is
best known for his monochromatic works of dots in abstract, random
patterns, but Lot 41, "No. Red Q," is a large variation on that theme
in red. It measures 41 1/4 by 61 3/4 inches and was painted
in 1960. It is part of her "Infinity Nets" series and red had
a special appeal for her beause according to Japanese folk traditions
it is the color for expelling demons and illness and as a young woman
Kujsama ha been disagnosed with an obsessive-compulsive disorder ater
suffering years of powerful hallucinations in which she would see the
world covered in a series of vivid net-like patterns." The
lot has an estimate of $1,000,000 to $1,500,000 It sold for $1,426,500.
Lot 47 "Figure O," by Jasper Johns,
oil,
printed paper and fabric collage on canas in artist's frame, 10 by 8
inches, 1959
Lot 47
is a luscious small oil, printed paper and fabric collage by Jasper
Johns (b. 1930) entitled "Figure O." It measures 10 by 8
inches and was painted in 1959. It has an estimate of
$3,000,000 to $4,000,000. It
sold for $4,114,500.
Brett Gorvy discussing Lot 33, "Target
with Four Faces" by Jasper Johns, ink on plastic, 28 3/4 by 22 1/4
inches, 1979
One of
the best looking works by Jasper Johns in the auctions is Lot 33,
"Target with Four Faces," an ink on plastic from 1979 that measures 28
3/4 by 22 1/4 inches. It is, the catalogue entry notes, "a
reprisal and variation of the 1955 encaustic and collage work of
thesame title, now in the Museum of Modern Art in New York.
It has an estimate of $800,000 to $1,200,000. It sold for $1,370,500.
Lot 44, "Man Struck by
Lightning - 2 Witnesses," by Jean-Michel Basquiat, acrylic and oilstick
on canvas with wooden supports, 72 inches square, 1982
One
of the most striking works in the auction is Lot 44, "Man Struck by
Lightning - 2 Witness," by Jean-Michel Basquiat (1960-1988).
An acrylic and oilstick on canvas with wooden supports, it is
72 inches square and was created in 1982. It has an estimate
of $3,500,000 to $4,500,000. It sold for $4,786,500.
Lot 60, "Self Portrait as a
Heel," by Jean-Michel Basquiat, acrylic and oilstick on canvas, 50 by
40 inches, 1982
Lot
60, "Self Portrait as a Heel," is a very strong work by Jean-Michel
Basquiat (1960-1988). An acrylic and oilstick on canvas, it
measures 50 by 40 inches and was painted in 1982. It has an
estimate of $4,000,000 to $6,000,000. It sold for $5,906,500.
Lot
71, "Extra Cigarette," by Jean-Michel Basquiat, acrylic and oilstick on
glass and wood, 33 1/8 by 33 1/2 by 1 7/8 iunches, 1982
Lot 71 is a good work by
Jean-Michael Basquiat that is entitled "Extra Cigarette." An
acrylic and oilstick on glass and wood, it was created in 1982.
It has an estimate of $800,000 to $1,200,000. It sold for $1,538,500.
Robert
Manley
of Christie's in front of Lot 40, "Untitled," by Lee Bontecou,
steel, wood, wire and canvas construction, 63 1/2 by 111 by 20 inches,
1962, backgroun, and detail of Lot 57, "Aluminum-Magnesium Alloy
Square," by Carl André. 100-unit square, 79 1/8 inches square, 1969,
foreground
Lot 40 is a very imposing
steel, wood, wire and canvas construction by Lee Bontecou (b. 1931).
The untitled work measures 63 1/2 by 111 by 20 inches and was
created in 1962. It has an estimate of $1,500,000 to
$2,000,000. It
sold for $1,874,500.
Lot
57 is a classic work by Carl André (b. 1935). Entitled
"Aluminum-Magnesium Alloy Square," it consists of 100 units and is 79
1/8 inches square. It was created in 1969. It has an
estimate of $1,500,000 to $2,500,000. It sold for $1,426,500.
Lot
32, "Untitled Composition," by Roy Lichtenstein, oil and magna on
canvas, 84 by 120 inches, 1978
Lot 32 is a very large and
fine untitled work by Roy Lichtenstein (1923-1997). An oil
and magna on canvas, it measures 84 by 120 inches and was painted in
1978. It has an estimate of $4,500,000 to $6,500,000. It sold for $10,162,500.
Lot 59, "Coming and Going," by
Wayne Thiebaud, oil and charcoal on canvas, 48 by 60 inches, 2006
Lot 59 is a large and good
painting of a highway by Wayne Thiebaud (b. 1920). Entitled
"Coming and Going," it is an oil and charoal on canvas that measures 48
by 60 inches. It was painted in 2006. It has an
estimate of $1,800,000 to $2,500,000. It sold for $1,986,500.
Lot
50, "Kopf (Skizze)," by Gerhard Richter, oil on aluminum, 14
3/4 by 11 1/2 inches 1997, $1,200,000 to $1,800,000
Lot
50 is an exquisite portrait by Gerhard Richter (b. 1932).
Entitled "Kopf (Skizze), is is an oil on aluminum and
measures 14 3/4 by 11 1/2 inches. It was painted in1997.
It has an estimate of $1,200,000 to $1,800,000. It sold for $2,322,500.
Lot
79, "U.N. Building - The Home of Peace," by Martin Kippenberger, oil
and silicone on four attached canvases, 94 3/4 by 79 inches, 1984
Lot
79 is a large work in four sections by Martin Kippenberger (1953-1997)
entitled "U.N. Building - The Home of Peace." It measures 94
3/4 by 79 inches and was created in 1984. The artist was
interested in architecture and institutionalism and the catalogue notes
that he has used the U. N. Building "as a cipher, a mirror into which
we read our own subjective historical interpretation." It has
an estimate of $800,000 to $1,200,000. It was passed at
$750,000.
Lot 74, "Embrace," by Lee
Krasner, oil on canvas, 64 by 57 inches, 1956
Lot
74 is a very fine abstraction by Lee Krasner (1908-1984) that is
entitled "Embrace." An oil on canvas, it measures 64 by 57
inches and was executed in 1956. It has an estimate $750,000
to $950,000. It passed at $600,000.
Lot
72, "Stella," by Marlene Dumas, oil on canvas, 90 3/4 by 23
3/4 inches, 2000
Lot
72 is a lovely painting by Marlene Dumas (b. 1953) entitled "Stella."
An oil on canvas, it measures 90 3/4 by 23 3/4 inches and was
painted in 2000. It has an estimate of $700,000 to
$1,000,000. It
sold for $1,082,500.
The
catalogue includes the following quotation from the artist about this
work:
"I've
always enjoyed making links to other artists.
This
often shows through my titles, which to me is like a childlike play.
The
likenesses between these works are often only cosmetic.
Take
my 'Stella' and compare it to the early Frank Stella's I admire
so for their cool
American beauty of (seemingly) effortless clarity.
My Stella is a figure that can't decide whether to be a solid matter
of fact of just a figure of speech. A figure caught between a flat space
and a deeper space = a hard, aloof space and an illusionstic
emotional space. It is not about what is the better place to
be.
It is not even about making a 'she' out of a 'he'.
It is just my way to pay my dues to all the different types of
Stella's that have crossed my mind."
Lot
69, "Untitled (cowboy)", by Richard Prince, Ektacolor
photograph, 59 1/8 by 83 1/8 inches, 1999, number
two of edition of two and one artist's proof
Lot 69 is a large untitled
Ektacolor photography by Richard Prince (b. 1949) of Monument Valley.
It measures 59 1/8 by 83 1/8 inches and is dated 1999 and is
number two of an edition of two and one artist's proof. It
has an estimate of $800,000 to $1,200,000. It failed to sell and was passed
at $700,000.
The day auction also included the following works from the Michael Crichton collection.
Lot
253, "Water Forms," watercolor and graphite on paper laid down on
board, 15 by 21 1/2 inches, 1961, left; and Lot 252, "Untitled,"
watercolor and graphite on paper, 16 3/4 by 13 7/8 inches, 1962, right,
both by William Baziotes
The
auction has two very nice watercolors and graphite on paper by William
Baziotes (1912-1963). Lot 263 is entitled "Water Forms" and
measures
15 by 21 1/2 inches and was executed in 1961. Lot
252 is an untitled
watercolor and graphite that measures 16 3/4 by 13 7/8 inches and was
executed in 1962. There both had an estimate of $18,000 to
$25,000. They
each sold for $30,000.
Lot
256, "Marriage de Marie de Blois," by Georges Mathieu, oil on canvas,
71 by 117 inches, 1960
Lot
256 is a very strong work with pronounced impasto by
Georges Mathieu
(b. 1921) entitled "Marriage de Marie de Blois." An oil on
canvas, it
measures 71 by 117 inches and was painted in 1960. It has an
estimate
of $150,000 to $250,000. It
sold for $362,500.
Lot
298, "Three Ms and One W II Gyratory," by George Rickey, kinetic
stainless steel sculpture, 147 by 99 by 1 1/2 inches, 1989, unique
Lot 298 is a tall stainless steel kinetic
sculpture by George Rickey (1907-2002) entitled "Three Ms and One W II
Gyratory." It measures 147 by 99 by 1 1/2 inches and is
unique and was created in 1989. It has an estimate of
$100,000 to $150,000.
It sold for $170,500.
Lot
302, "The New Spirit (Donald Duck)," by Andy Warhol, synthetic polymer
and silkscreen inks on canvas, 22 inches square, 1985
Lot 302 is a synthetic polymer and silkscreen inks
on canvas of Donald Duck parading in front of a curved wall of mirrors.
It is 22 inches square and is entitled "The New Spirit
(Donald Duck). It was created in 1985. It has an
estimate of $200,000 to $300,000. It
sold for $410,500.
Lot
295, "The Garden of Eden," by Jim Dine, five elements in stainless
steel frames with painted bronze elements, 82 by 120 by 24 inches,
2003, number three of an edition of six
Lot
295 is a very colorful "screen" composed of five sections of brightly
painted stainless frames and bronze elements by Jim Dine (b. 1935).
It
measures 82 by 120 by 24 inches and was created in 2003 and is number
three of an edition of six. It has an estimate of $80,000 to
$120,000.
It sold for
$134,500.
"Lot
244, "Raphael Soyer," by Alice Neel, oil on canvas, 40 by 30 inches,
1970
Raphael Soyer was a well-known post-war painter in
New York and is the subject of an excellent portrait, Lot 244, by Alice
Neel (1900-1984). An oil on canvas, it measueres 40 by 30
inches and was painted in1970. It has an estimate of $150,000
to $200,000. It
sold for $386,500.
