Here’s a look at iconic art inspired by #GloucesterMA for sale at the big auction houses November 2018

For sale at Sotheby’s November 2018

WINSLOW HOMER Yacht in a Cove Gloucester Harbor_ca 1880_wc_Sothebys Nov 2018 American pre sale auction estimate 200000 to 300000
WINSLOW HOMER Yacht in a Cove Gloucester Harbor_ca 1880_watercolor_upcoming Sothebys Nov 2018 American sale. Pre-sale auction estimate is $200,000 – $300,000

Last spring a Homer image of Gloucester boys in a dory fetched $400,000. Relatable, though not Gloucester: Life Brigade is expected to fetch 4x that amount at Sotheby’s; another classic motif , Gathering Wild Blackberries, is estimated to sell for $150,000-$200,000. There is a smashing Marsden Hartley of Dogtown.

 

EDWARD HOPPER_Two Comedians_ upcoming Sotheby's American sale Nov 2018_from Sinatra collection est 12 mil to 18 mil
EDWARD HOPPER_Two Comedians_ upcoming Sotheby’s American sale Nov 2018_from Sinatra collection_The pre-sale estimate is 12 million to 18 million. (Not a Gloucester Hopper- there are no Gloucester Hoppers in these November sales)

For sale at Christie’s November 2018

c STUART DAVIS_Private Way_(Gloucester MA)_1916_ oil on canvas_Christies Nov 2018 presale auction est 60 to 80,000
STUART DAVIS Private Way, 1916.oil on canvas. Christies Nov 2018 presale auction est 60,000 to 80,000

Besides Stuart Davis, artists featured include Jane Peterson, Martha Walters, Hayley Lever, and George Bellows. There’s a classic Nahant work by William Stanley Haseltine and a marine themed WPA mural study by Lyonel Feininger.

c EDWARD HOPPER _Chop Suey_32 x 38_ 1929 oc_Christies presale estimate 70 mil to 100 million
EDWARD HOPPER Chop Suey, 1929, 32 x 38 inches, oil on canvas, Christies steep presale estimate 70 million to 100 million (from Barney A. Ebsworth collection) There are no Hopper works featuring Gloucester in these sales.

Click on thumbnails to enlarge the photo and see descriptions. I’ll post results after the sales. 

 

 

LIVE: James Prendergast Library only sold 3 at Sotheby’s! Rockwell fetches 6.2 million

Christie’s and Sotheby’s held dueling LIVE auctions on November 21, 2017. Christie’s American sale offered 93 lots resulting in $34,131,500 total sales, nearly 7x the total sales of Sotheby’s which featured less than 67 lots because the Berkshire Museum lots were pulled from the sale. Sotheby’s* failed to sell more than 1/2 of the first 45 lots. I’ll update after the sales have ended. *Sotheby’s sale is now closed. The auction house sold just 34 of 67 lots, total sales  (including Buyer’s Premium) were $5,858,250. Christie’s sold 72 of 91 lots today.

It turns out that the James Prendergast Library deaccession (see prior GMG post) would have made more money and kept the art in Jamestown if they had not brought the art to market at Sotheby’s. Here are the three of  nine paintings to find collectors; two went under estimate.

 

One of Sotheby’s best lots today was a Dame Laura Knight which sold for $560,000, right within its estimate range.

dame laura knight  BRIT 1877-1970 The Fairground Penzance ca 1912 oc 55 x 75 sotheby's last sold in 1983 est 400 to 600000.jpg

Hammer prices unless otherwise indicated:

Christie’s Lot 15 Norman Rockwell What Makes it Tick, a 1948 oil on canvas, sold for 6.2million  (just above its pre sale high estimate, 4 million to 6 million) which came to $7,287,500 after buyer’s premiums were factored. Rockwell’s Returning from Camp fetched 1.9 million. A Winslow Homer Tynemouth watercolor fetched a hammer price of $170,000, above its presale estimate range of 100,000-150,000. The Martin Johnson Heade failed to sell; the Milton Avery self portrait went for $45,000 at the gavel drop; and the Paul Manship sculpture was unsold, bidding failing to climb past $240,000 (pre sale estimate was $300,000 to $500,000.)

 

$400,000,000 Leonardo da Vinci Salvator Mundi record price at Christie’s Auction tonight!

250px-Leonardo_da_Vinci_or_Boltraffio_(attrib)_Salvator_Mundi_circa_1500

Confidence was in the room for the Leonardo da Vinci (1452-1519), Salvator Mundi, painting which climbed from a starting bid of $75,000,000 to $400,000,000 (hammer price) at Christie’s Contemporary art sale Wednesday, November 15, 2017. The Mona Lisa value has climbed tonight as well.

The buyer’s premium for Salvator Mundi will bring the sale to $450,312,500.

Hammer price is the highest bid announced by the auctioneer just before the gavel drops. Additional charges include fees such as buyers premium, taxes, etc added to the hammer price.

Prior record private sales for a William de Kooning (Interchange) and Paul Gauguin (Nafea Faa Ipoipo) reached 300 million. This Christie’s auction sale is public.

The da Vinci was the 9th lot in a sale featuring 58 lots. Prior to the da Vinci excitement a Kerry James Marshall did quite well.

Live Sale still in process. Hammer prices so far

1B Adam Pendleton $180,000
2B Philippe Parreno $420,000 (est $250,000-$350,000 )
3B Kerry James Marshall $4.2 million (est. 1-1.5 million)
4B Frank Stella $3.2 million (est 2.2 – 2.8 million)
5B Eva Hesse $900,000 (est $800,000-$1.2 million)
6B Rothko  $28.5 million (est $25 million – 35 million)
7B Bourgeois $7.5 million (est $10 million-$15 million)
8B Vija Celmins  $3,500,000 (est $1,500,000-2,500,000)
9B   LEONARDO DA VINCI
10B Jean Michel Basquit PASSED
11B Keith Haring sold $3,500,000
12B John Currin PASSED
13B Andy Warhol sold $56,000,000

28B Milton Avery Pale Field, Dark Mountain 1959 approx 40 x 54 oil  hammer price was $1,300,000

Milton Avery.jpg

 

 

 

 

 

Sotheby’s auction tanked as Berkshire Museum art yanked & Paul Manship sculpture soared past estimate

The November 13, 2017 evening art sales –counting buyers’ premiums–totaled nearly $500,000,000  between two major NYC auction houses: Sotheby’s American Art sales were $19,407,375 and Christies Impressionism and Modern Art sales were $479,000,000 million.

The Sotheby’s sale was unusual because 7 of its 84 star lots were withdrawn just before the auction, a result of the Berkshire Museum litigation. (The combined conservative value of potential sales for the museum lots was $30,000,000 at the low presale estimate range. If the art is sold in the future its value will be more because of the increased familiarity.) Other Sotheby’s lots went unsold. Two Norman Rockwell works surpassed their estimates.  Of note for Gloucester artists fans, Paul Manship’s sculpture heavily surpassed its estimate. One Milton Avery sold within its estimate range while a second went unsold. There was a selection of original and rare Paul Manship sculpture for sale in Gloucester this summer (here’s the link).

Manship sold above estimate.jpg
detail of Paul Manship (1885-1966)  Diana, 1921, which sold for $975,000 at Sotheby’s on November 13, 2017  (hammer Price with Buyer’s Premium) Sotheby’s presale estimate was $400,000-$600,000

Christies sale night had several surprises including records for Leger ($71,000,000)

Christies Leger record breaker Fernand Léger (1881-1955), Contraste de formes, 1913. 36⅜ x 28⅞ in (92.4 x 73.2 cm). Sold for $70,062,500 in the Impressionist & Modern Art Evening Sa

and a gorgeous Vuillard,

Vuillard

and big bidding for Van Gogh ($81,000,000 million).

Vincent van Gogh (1853-1890), Laboureur dans un champ, painted in Saint Rémy, early September 1889. 19⅞ x 25½ in (50.3 x 64.9 cm). Sold for $81,312,500 in the Impressionist & Modern

Christies superstar Fall lot is still to come and in all the news: Salvator Mundi –attributed to Leonardo da Vinci– will be sold in the contemporary sale alongside Warhol tomorrow. It’s been for sale since it was rediscovered in the oughts, but no museum purchased it and experts debate its hand and condition. The opening bid for the “lost Leonardo” will be $100,000,000. A Jean Michel Basquit sold for $110,500,000 last May. Christie’s marketing hype video “The Last da Vinci…”

 

 

Art of fatherhood: Gloucester artists and writers

A small selection of images and words about and by fathers, with Gloucester ties. What would you add? Happy Father’s Day!

Edward Hopper portrait of artist's father
Edward Hopper, portrait of artist’s father, Whitney Museum

 

Air

They took my father’s father from the mines

and laid him, broken, on the kitchen table,

the wake singers lifting their lines

above the water heater he had often mended.

 

My father always dreamed of him alive,

able to whittle an oak peg for every split thing.

all my father lost at the age of nine

enclosed his life, his air.

 

In my flood dream, I carry my father

piggyback–easier than a kid’s coffin–

to safety from the Susquehanna River

as light as a dollhouse, now, or violin.

Joseph Featherstone, from his book of poems, Brace’s Cove

 

Gloucester, Massachusetts. Anthony Parisi, an Italian fisherman's son
Gordon Parks, “Gloucester, Massachusetts. Anthony Parisi, an Italian fisherman’s son.” Library of Congress, FSA collection

 

Caitlin

To be seven when a brother dies–

to have shared a room.

Her silence frightened us.

 

One night she rose from the table

and climbed to the top of the stairs.

We heard the small voice

 

singing each of the songs

from the funeral service.

The next morning in school

 

she announced to her class,

“I am ready for questions now.”

by Joseph Featherstone, from Brace’s Cove

 

Frank Domingos kissing a vessel representing remains of a saint, during ceremonies at his father's home, part of the tri-annual fiesta of Pentacost. The celebration--including the chosing of an Imperator, and
Gordon Parks, “Gloucester, MA. Frank Domingos kissing a vessel representing remains of a saint, during ceremonies at his father’s home…” Library of Congress

full title for the Gordon Parks photograph above: “Frank Domingos kissing a vessel representing remains of a saint, during ceremonies at his father’s home, part of the tri-annual fiesta of Pentacost. The celebration–including the chosing of an Imperator, and visiting, eating, drinking, and worship in the home, culminates in a parade and blessing by the priest–originated with ancient Portugeese fisherman, drought-stricken, who prayed for assistance and received it.”

 

John_hays_hammond_and_natalie_hays_hammond library of congress
John Hays Hammond with daughter, Natalie Hays Hammond. collection Library of Congress

Captain’s Courageous was published in 1897. “During the winter of 1897-98 I made another trip to South Africa, and on the same boat with me were Rudyard Kipling (Rudyard was named after a place where his father and mother first met), his wife, and his father, Lockwood Kipling, the artist. They proved excellent traveling companions and we have maintained our friendly contact ever sense.” – John Hays Hammond 

John_Lockwood_Kipling_és_Rudyard_Kipling
John Lockwood Kipling and Rudyard Kipling

The Kiplings collaborated: the artist John Lockwood Kipling illustrated many of his sons’ books.

John Lockwood Kipling Jungle Book

jungle book 2

John Lockwood Kipling White Seal
John Lockwood Kipling, The White Seal

 

William Foster Biddle Cecilia Beaux PAFA gift of Sandwith Drinker
Cecilia Beaux, portrait sketch of William Foster Biddle, Pennsylvania Academy Fine Art, gift of Sandwith Drinker  (Biddle like a father to Cecilia)

 

William Morris Hunt Prodigal Son Brattleboro library
William Morris Hunt, Prodigal Son, Brattleboro Library

Hunt purchased a former barn and adjoining carpenter’s shop in Magnolia. “…in three weeks the old, unsightly buildings were converted into a picturesque structure with galleries on the outside, one of them ending in a seat in an old willow-tree. The carpenter shop was turned into a studio, the chief light coming from the wide-open door…The barn was two stories in height, the lower portion being occupied by the van, a phaeton and a dog-cart, as well as by stalls for two or three horses. The upper room was known as the “barracks”, and half a dozen cot-beds were arranged around the sides, as seats by day and beds by night…In a single afternoon his celebrated Gloucester Harbor was painted, and he returned to Magnolia aglow with enthusiasm. “I believe,” he exclaimed, “that I have painted a picture with light in it!…Go out into the sunshine, and try to get some of its color and light. Then come back here, and see how black we are all painting!”

William Morris Hunt Gloucester Harbor MFA 1877
William Morris Hunt, Gloucester Harbor, 1877, MFA Boston

 

sargent house museum john singer sargent portrait of father.jpg
John Singer Sargent portrait of the artist’s father, Sargent House Museum

 

Paul Manship and family Isabel Manship xSarah Janet x Elizabeth x Pauline x John Paul x Paul
Family portrait: Isabel Manship, Sara Janet, Elizabeth, Pauline, John Paul, Paul Manship

 

lee kingman natti002-001

Lee Kingman, Peter’s Pony, 1963, with illustrations by Fen Lasell

 

Leon Doucette
Leon Doucette, portrait of the artist’s father

 

Milton Avery March drypoint 1933
Milton Avery 1933 drypoint (March, his daughter)

 

Winslow Homer captures the waiting and watching experienced by so many families in Gloucester. Homer’s father, Charles Savage Homer, left for extended start-ups: to California for gold, to Europe.  Winslow Homer’s mother was a professional and gifted artist who raised three stellar boys solo, a lot. The Homer family remained tight knit.

Dad's Coming, 1873, NGA
Winslow Homer, Dad’s Coming, 1873,  National Gallery of Art

 

Friday Nights at the A&P

By Ruthanne “Rufus”  Collinson

When I was a kid

there were Friday nights to get lost in.

There was Mama

to take me shopping,

the smell of outdoors on her wool coat.

There was the A&P on Main Street,

the long spread out time

to wander the rolling floors

and smell the oranges and the coffee grinding.

There was no talking with Mama and me

She chose the food and I thought,

the long time of thinking away from Mama

in the A&P.

I watched the women

with heavy faces and deep frowns

weighing out their fruits

I thought about how bad they looked,

but I knew they didn’t want to die

because of the way they cared

about stacking the apples.

Sometimes I lost Mama and her sadness

but she would find me and take me

to the check out

where I picked up Daddy’s Pall Malls

and then stayed close to her wide sleeve

as we carried our lumpy brown bags

past Paul T. Reddy’s Dancing School.

I heard people dancing upstairs

Shadows in the window suggested music

and the end of time laid out like that.

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