SOLD! A Diego Rivera Portrait Commands $2.4 Million

9682 - Rivera, 'Matilde Palou'

Update: The Diego Rivera portrait of Matilde Palou sold for $2.4 million.

What you see: Retrato de la Actriz Matilde Palou, a 1951 portrait by Diego Rivera. Sotheby’s estimates it at $2 million to $3 million.

Who is Diego Rivera? He was a great 20th century Mexican painter who married Frida Kahlo twice, and was her husband when she died in 1954. His murals grace the walls of the Detroit Institute of the Arts and the Palacio de Bellas Arts in Mexico City. A 1933 mural commission for Rockefeller Center in New York was halted after he refused to remove a portrait of Vladimir Lenin. (The Mexico City mural is a version of the abandoned Manhattan mural.) Rivera died in 1957 at the age of 70.

Who is Matilde Palou? She was a Chilean actress who worked with the legendary Spanish director Luis Buñuel. She was about 40 when she posed for Rivera. She died in 1970 at the age of 64.

Why did Rivera paint this portrait? “The exact reason why he painted it, and why the actress was painted in an outrageously patriotic dress, is a mystery to us,” says Axel Stein, head of Sotheby’s Latin American art department, adding that Rivera painted portraits throughout his entire career, and in the last 10 years of his life, he painted several actresses.

The Diego Rivera portrait measures 80 1/2 inches by 48 1/4 inches. How unusual was it for Rivera to paint a portrait of this size? “Large portraits are rare in Rivera. I’ve seen less than 15 portraits this large in his catalogue raisonné,” he says, adding that something of this nature comes up about once every 10 years.

What is the meaning of the symbols on Palou’s dress in this Diego Rivera portrait? “We’re not able to identify them all, but they’re about Mexico, and Mexico City,” he says, picking out a prominent image on the second tier of the skirt of the dress that shows an eagle standing on a cactus and holding a serpent in its mouth. The motif alludes to an Aztec tale about the founding of the city of Tenochtitlan, and it appears on the Mexican flag. Her dress also reflects the style of the region of Chapa de Corzo, which is near the Guatemalan border.

What else makes this Diego Rivera portrait special? “Diego Rivera is about the power of the image. When you see this in person, there is power,” he says. “I brought her [this portrait] to a highlights exhibition in Los Angeles a month ago. People who came into the exhibit who didn’t know Rivera asked, ‘Who is this?’ You cannot go by and pretend you haven’t seen it. It leaves you in a state of wonder.”

How to bid: The Diego Rivera portrait is lot 8 in the Latin America: Modern Art Evening Sale at Sotheby’s New York on May 25.

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SOLD! A Jonathan Borofsky Work Fetches $9,375 at LAMA

Man with a Briefcase (C), a woodcut with collage on handmade paper by Jonathan Borofsky. It's the fourth of a 1991 limited edition of 12, and it measures 92 inches by 39 inches.

Update: The Jonathan Borofsky work sold for $9,375.

What you see: Man with a Briefcase (C), a woodcut with collage on handmade paper by Jonathan Borofsky. It’s the fourth of a 1991 limited edition of 12, and it measures 92 inches by 39 inches. Los Angeles Modern Auctions (LAMA) estimates it at $5,000 to $7,000.

Who is Jonathan Borofsky? He is an American artist who works in many media, but he might be best known for his monumental sculptures, which have been displayed outdoors in cities around the world. Man with Briefcase is a motif that appears often in his work, and has appeared since at least 1980, in sizes ranging from 11 inches to 32 feet. Borofsky will turn 75 in December.

What makes the Man with a Briefcase image so strong? “It’s an object in a square, a simple cutout of a man with a briefcase in silhouette, with no details,” says Peter Loughrey, founder of LAMA. “In this case, with this image, there’s no horizon. It’s kind of floating in space in an almost surrealistic fashion. It’s almost impossible to tell if the figure is facing away from you or facing toward you. It’s almost a mirror. You kind of see what you want to see. Is it a man going to work? A man who lost his job? There are so many ways to look at it and bring your own imagination to bear.”

Los Angeles Modern Auctions (LAMA) May 21, 2017 Auction

Borofsky explores the Man with a Briefcase image in different mediums, at wildly different sizes, over several years. Is that a drawback for collectors? “Just the opposite, from a market perspective,” Loughrey says. “The market reacts positively to artists who continue and hold these themes and give interesting variations on those themes. You can see it in Picasso, you can see it in Warhol, you can see it in Lichtenstein. It shows that Borofsky is one of the great contemporary artists. I’ve never seen this particular piece before, but it’s obvious it’s Borofsky. It couldn’t be anyone else. It’s that instant recognition that’s rewarding and comforting and helps you understand an artist’s work.”

How to bid: The Jonathan Borofsky work is lot 39 in the May 21 Modern Art & Design Auction at LAMA.

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SOLD! A Ruud van Empel Work Sells for More Than $88,000

Ruud van Empel's Boy & Girl, the first of a limited edition of seven prints, created in 2008.

Update: Ruud van Empel’s Boy & Girl sold for £68,750, or $88,688.

What you see: Ruud van Empel’s Boy & Girl, the first of a limited edition of seven prints, created in 2008. Phillips estimates it at £50,000 to £70,000 (about $64,000 to $90,000).

Who is Ruud van Empel? He’s a Dutch visual artist who pushes the boundaries of photography. Boy & Girl belongs to his World series, which, along with the Moon and Venus series, brought him international recognition. He will turn 59 in November.

No, really, what is this? “It is completely fictional,” says Genevieve Janvrin, co-head of photographs for Phillips Europe. “The children don’t exist. The forest doesn’t exist. It’s all in his head. For every one child you see, he’ll photograph five. He takes photos of leaves, Dutch foliage, and will move the leaves around. It literally takes him months to create each work, The Photoshop tool is his paintbrush. It’s almost like a puzzle, putting pieces together in a different way that confuses you and seduces you at the same time.”

Boy & Girl is a dye destruction print that has been face-mounted on Plexiglas. How do these techniques affect the artwork? “It’s a very shiny print–incredibly shiny,” says Janvrin. “In addition to that, it’s face-mounted on Plexiglas, a very highly reflective polished glass. It really shines at you. It’s not matte at all–full gloss. And it [looks] squeaky clean. The boy is in white shorts in a muddy forest, but no one is mucky. This is not reality. It’s all incredibly perfect and beautiful.”

This Ruud van Empel work is also fairly large, at 95 inches by 67 1/2 inches. How does that enhance its impact? “When you stand in front of this one, you really feel like you’re there. The foliage is all-encompassing,” she says. “There’s a huge amount of depth in the work. His attention to detail is incredible.”

How often does Boy & Girl come up at auction? This is only the second to appear. Another from the edition sold in 2015 at another auction house for £80,500, or around $126,000.

What else makes this Ruud van Empel work compelling? “For me, personally, there’s a lot more going on than in some of the others [from the series],” she says. “The children are not looking at the viewer, not engaging you. It creates much more of a narrative. They’re moving–where are they going? And they’re very small. That foliage usually comes up to your ankles. You get the sense that the children have almost been shrunk. He usually puts [his child models] in very gendered clothes, but the clothes on these two are very pared down. It’s either an aftermath, or an Edenesque beginning–a powerful discovery of who they are and what they are doing.”

How to bid: The Ruud van Empel work is lot 84 in Phillips’s May 18 Photographs auction in London.

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A Martial Raysse Work Given to the Manger of the Hotel Chelsea Commands $50,000

UNTITLED (EYES), a 1963 mixed media collage by the French artist Martial Raysse. He inscribed it, "To Stanley Bard Avec l'amitié de Martial Raysse (To Stanley Bard, with the friendship of Martial Raysse)."

Update: The Martial Raysse work sold for $50,000–ten times its low estimate.

What you see: UNTITLED (EYES), a 1963 mixed media collage by the French artist Martial Raysse. He inscribed it, “To Stanley Bard Avec l’amitié de Martial Raysse (To Stanley Bard, with the friendship of Martial Raysse).” Freeman’s estimates it at $5,000 to $8,000.

Who is Martial Raysse? In the 1960s Raysse cofounded the Nouveau Réalisme art movement with Yves Klein and Arman, two fellow residents of the Hotel Chelsea in Manhattan. His compatriots banished him from the group after he abandoned making art from consumer objects to paint on canvas instead. It’s unclear when he moved out of the Hotel Chelsea. Raysse set the auction record for the most expensive painting by a living French artist when his Last Year in Capri (Exotic Title) garnered $6.58 million at Christie’s London in 2011. He turned 81 in February.

Who is Stanley Bard? He managed the Hotel Chelsea for more than 40 years, enhancing and cementing its reputation as an artists’ sanctuary. He died in February at the age of 82. Freeman’s is selling almost 100 works from his personal collection–art that graced his own apartment rather than the walls of the hotel he ran.

What led Martial Raysse to give Stanley Bard this work? We’re not sure what the circumstances were, but the two would have met at the Chelsea. “We didn’t know what it was at first,” says Alasdair Nichol, vice chairman at Freeman’s. “Nobody seemed to know. The writing was hard to make out. I loved it as an image even by an anonymous artist. When it turned out to be a Martial Raysse, it made it a more interesting proposition.”

What makes the Martial Raysse work so strong? “The bright red color, and the eyes,” Nichol says. “I love it. The moment you see it, it stays with you. It’s a pretty indelible image. It feels very much of its time as well, with the 1960s model eyelashes. The neon color reinforces it. It’s electric.”

How to bid: The Martial Raysse work is lot 32 in the Stanley Bard Collection: Life at the Chelsea sale at Freeman’s on May 16.

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An Onyx Noguchi Sculpture Could Exceed $500,000

Magatama, a 1946 sculpture carved from onyx by Isamu Noguchi.

What you see: Magatama, a 1946 sculpture carved from onyx by Isamu Noguchi. Wright estimates it at $300,000 to $500,000.

Who is Isamu Noguchi? Born in Los Angeles to an American mother and a Japanese father, he grew up in both countries and became a leading sculptor of the 20th century. He also created memorable furniture designs for the Herman Miller company. He created what is now the Noguchi Museum in 1985 in Queens. He died in Manhattan in 1988 at the age of 84.

What does Magatama mean? It’s a word that describes curved beads that appear in jewelry and ceremonial objects from pre-historic Japan.

How often did Noguchi sculpt in onyx? “Pretty darn infrequently. The sculpture itself is unique,” says Richard Wright, founder and president of the eponymous auction house, noting that he made at least one other sculpture in the semi-precious material. Its whereabouts are unknown.

What makes the onyx Noguchi sculpture so powerful? “The best Noguchi sculptures, to my thinking, are directly carved in stone. He did work in other materials, but stone is best,” he says. “To me, the striations are almost like a counterpoint. It’s linear, while the form is round and smooth. It’s sensuously curved. He must have enjoyed the opposition of the strong, linear lines over the curved form. And the spiral itself is an ancient symbol of the universal and the infinite.”

How does the onyx Noguchi sculpture’s celebrity provenance–the artist gave it to director John Huston, and it was later owned by actor Tab Hunter–affect its presale estimate? “It’s been 20 years since a Noguchi stone sculpture from the 1940s has come to market,” he says. “It’s never been to auction. It’s clearly a work that’s exceptional and has a nice backstory. It adds collector interest that hopefully translates to additional value.”

Magatama measures just over three inches high, just over five inches wide, and five inches in diameter. How does it feel to hold it in your hand? “It feels pretty good,” Wright says. “I’m sure through its life it was often picked up. The scale of it, the weight of it, the smooth feeling of it makes you want to hold it. It’s impressive. And it does have a really strong presence in person. It radiates an aura.”

How to bid: The onyx Noguchi sculpture is lot 5 in the Masterworks auction at Wright on May 25.

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A Ty Cobb Baseball Postcard That He Used and Mailed Sold for $84,000

A 1907 Seamless Steel Tubes postcard picturing Ty Cobb in his rookie year. Cobb wrote a message on it and mailed it from Chicago on October 7, 1907, the day before he played in the World Series against the Cubs, who ultimately won in four games.

UPDATE: The Ty Cobb baseball postcard, which Cobb used and mailed just before playing his first World Series game, commanded $84,000–seven times its estimate.

What you see: A 1907 Seamless Steel Tubes postcard picturing Ty Cobb in his rookie year. Cobb wrote a message on it and mailed it from Chicago on October 7, 1907, the day before he played in the World Series against the Cubs, who ultimately won in four games. Heritage Auctions estimates the postcard at $10,000 plus.

What Cobb wrote on the postcard: “Well, we have won the pennant and here for world series. I led in hitting, stolen bases 60, assists, and second 100 runs, hit 355 unofficially – hope you lots of luck, will be glad to hear at any time. Royston GA., have an offer to go with all-Americans out to California. Excuse this advertising card.”

So, just how rare is this Ty Cobb baseball postcard? “The card itself, without writing, is $3,500 to $5,000 because a handful of them are known,” says Heritage sports card expert Peter Calderon. “A note on a vintage card is extremely hard to find, and a message from a player is very, very rare.”

This Ty Cobb baseball postcard was commissioned by a Detroit factory that made exhaust systems for steam locomotives–not a tobacco company or a gum manufacturer. Why would a company like that want to offer something like this? “It was based out of Detroit, and using players was common,” says Calderon. “Considering how rare the card is, it probably wasn’t produced in large numbers. It may have been just a giveaway [in Detroit] by the company.”

Who did Cobb send this to? Tom Bird, who was a teammate of his when he was playing in the minor leagues with the Augusta Tourists. The postcard has descended in Bird’s family and comes directly to Heritage from them. “He probably had it sitting around and wanted to send a note. That’s one of the neat things about it,” says Calderon. “Cobb had a reputation of being a dirty player, but he signs it ‘Tyrus,’ like he’s signing a Christmas card, and he says, ‘Excuse this advertising card.’ It shows the humbler and humane side of him, which he is not known for.”

The Ty Cobb baseball postcard has an estimate of $10,000 and up, but as of April 24, the high bid was $28,000–$33,600 with buyer’s premium. Where do you think it is headed? “It could go to $40,000, $50,000–who knows?” says Calderon. “It’s the first time I’ve ever seen a used postcard like this. It’s one of a kind. On every level, it has everything. It’s Ty Cobb. It’s a full message. It’s about baseball. It’s everything a collector could want.”

How to bid: The Ty Cobb baseball postcard is lot #80708 in the May 11-13 Sports Collectibles Catalog Auction at Heritage.

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A 19th Century Gambler’s Case Fetches $6,765

A circa 1880 American-made gambler's case, with several sets of mother-of-pearl chips, a pistol with a mother-of-pearl handle, a full set of playing cards, a cigar cutter with a mother-of-pearl handle, a two-bladed pocket knife with a scrimshawed ivory handle, an ivory dice cup, and miscellaneous dice.
A circa 1880 American-made gambler's case, with several sets of mother-of-pearl chips, a pistol with a mother-of-pearl handle, a full set of playing cards, a cigar cutter with a mother-of-pearl handle, a two-bladed pocket knife with a scrimshawed ivory handle, an ivory dice cup, and miscellaneous dice.

Update: The 19th century gambler’s case sold for $6,765.

What you see: A circa 1880 American-made gambler’s case, with several sets of mother-of-pearl chips, a pistol with a mother-of-pearl handle, a full set of playing cards, a cigar cutter with a mother-of-pearl handle, a two-bladed pocket knife with a scrimshawed ivory handle, an ivory dice cup, and miscellaneous dice. Potter & Potter estimates it at $3,000 to $5,000.

Why would a gambler need a case with all this gear? Why not rely on house equipment? “You don’t want to miss an opportunity for a game,” says Gabe Fajuri of Potter & Potter. “You’ve got your deck of cards, your chips. Put in your ante, and let’s go.”

The lot description says this 19th century gambler’s case is ‘one of the few gambler’s boxes we have seen composed of apparently all-original material.’ What does that mean? “The problem is, a lot of gambler’s cases end up being put together. Collectors call those ‘fantasy pieces.’ I don’t think that’s true here,” Fajuri says. “Can I prove the dice are original to it? No. Can I prove the cigar cutter, the knife, the gun are original to it? No. But the pieces fit together. The style fits together. They all have the same age and wear. It’s what an antiques dealer would call ‘right.'”

How complete is this 19th century gambler’s case? “It’s hard to say. It’s not like this was a catalog item,” he says. “My guess is [the gambler who commissioned it] said, ‘Please make this to my specifications’ around the gun or the chips.”

Is anything in the 19th century gambler’s case gaffed or altered? “There’s nothing crooked about any of this stuff,” he says. “If you find real cheating devices in a case, you almost have to dismiss it out of hand. It’s not a magician’s case. It’s not hidden away.”

Ivory and mother-of-pearl are luxury materials. Does this mean the gambler who owned this case was successful? “It could be to intimidate [other players] or put them at ease, depending on what he was going for,” he says. “Or maybe he shot somebody and took his stuff. I don’t know.”

Have you had a genuine gambler’s case before at Potter & Potter? “One or two. This is nicer,” Fajuri says. “Again, the feel, the fit, the material used to make it has a quality and an authenticity that makes me feel good about it.”

How to bid: The 19th century gambler’s case is lot 978 in Potter & Potter’s Gambling Memorabilia Auction on May 6 and 7, 2017.

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A Ringling Bros Joan of Arc Poster Collects $469

A 1913 poster by Ringling Brothers, featuring Joan of Arc and promising a 'Magnificent 1200 Character Spectacle.' It's from the Richard Bennett Collection of Circus Memorabilia.

Update: The Ringling Brothers Joan of Arc poster sold for $439.

What you see: A 1913 poster by Ringling Brothers, featuring Joan of Arc and promising a ‘Magnificent 1200 Character Spectacle.’ It’s from the Richard Bennett Collection of Circus Memorabilia. Leslie Hindman Auctioneers estimates the poster at $400 to $600.

Why is Joan of Arc on this Ringling Brothers poster? Where are the tigers, elephants, and clowns? “Circuses were not seen as the most classical or tasteful form of entertainment. To drum up business and legitimize the circus, the performers would parade through the streets dressed as classical Romans or knights with Joan of Arc,” says Nicholas Coombs, associate specialist at Leslie Hindman Auctioneers. “This spectacle was the first encounter the town would have with the circus, and it was a free parade down the main street.”

Why build a parade around Joan of Arc? Why would that be a draw in 1913? “Joan of Arc was a character who would have been known to a large slice of the population,” he says. “Ringling Brothers tried to appeal to as many people as possible. Joan of Arc certainly had that sort of cache among everyday, average Americans.”

What would the parade-goers have seen? “It would have been a fully-costumed production,” he says. “They probably tried to have as large a French army as possible, dressed up as knights. They tried to depict a mighty spectacle to get people to go to the circus later. They would have showed some animals as well.”

What other forms of entertainment was Ringling Brothers competing against in 1913? “It really didn’t have much competition,” Coombs says. “The circus was its own form of entertainment. A production this large, with thousands of people coming to your town–it was an event. Everyone came out to see it for miles around.”

The poster trumpets a 1200-person spectacle, but it only shows Joan of Arc and her horse. Is that unusual? “From the ones we’ve encountered, they try to sell the cast of a thousand characters aspect,” he says. “This stands out for its visual strength and its simplicity.”

How to bid: The Ringling Brothers Joan of Arc poster is lot 427 in the Documenting History: Science, Exploration sale at Leslie Hindman Auctioneers on May 4, 2017.

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Norman Rockwell’s Study for Triple Self Portrait Sells for $1.3 Million

Study for Triple Self Portrait, a 1960 oil on photographic paper laid on panel by Norman Rockwell. The final version graced the cover of the February 13, 1960 edition of The Saturday Evening Post.

Update: Heritage sold Norman Rockwell’s Study for Triple Self Portrait for $1.3 million–a record for a Rockwell study at auction.

What you see: Study for Triple Self Portrait, a 1960 oil on photographic paper laid on panel by Norman Rockwell. The final version graced the cover of the February 13, 1960 edition of The Saturday Evening Post. Heritage Auctions estimates the study at $150,000 to $250,000.

Who was Norman Rockwell? He was the best-known and most-loved American illustrator of the 20th century. He created 321 covers for The Saturday Evening Post as well as many works for Look magazine, calendar companies, and the Boy Scouts of America. He died in 1978 at the age of 84.

How many studies did Rockwell make for Triple Self Portrait, and how many have come to auction? It’s unclear, but according to Ed Jaster, senior vice president at Heritage Auctions, Rockwell typically made between five and 10 studies or preliminary works for a Post cover. “To the best of my knowledge, this is the only study for Triple Self Portrait that exists in private hands,” Jaster says. The finished Triple Self Portrait cover art belongs to the Norman Rockwell Museum in Stockbridge, Mass.

Where was Rockwell in his career in 1960? Jaster points to the language that appeared on that February 1960 Post cover, which dubbed Rockwell “America’s Best Loved Artist,” and adds, “In the eyes of museum curators and critics, not so much. Rockwell, in his lifetime, never got true recognition as a painter, and never as a fine art painter. He didn’t ascend to major museums until well after his death.”

How close is this Norman Rockwell Study for Triple Self Portrait to the final version? “It’s a nice, tight color study with a fair amount of work put into it,” says Jaster, noting that the differences between the two are few–the final places pipes in all three Rockwell mouths, adds sketches of Rockwell’s head to the left of the easel and changes the Picasso clipped to the right of the easel. Rockwell’s signature also appears on the lower right of the canvas-in-progress, but that’s about it. “This is close to the final composition, and it works as a painting.”

Who is Henry Strawn, the person to whom Rockwell inscribed the study? We don’t know, and we don’t know when he would have received it from Rockwell. We do know that the artist freely bestowed his originals on models, friends, neighbors, and acquaintances. “He was a generous guy who didn’t take himself seriously,” says Jaster. “We see a lot of [Rockwells] come out from the families of sitters. One consigner [not Strawn–ed.] was a truck driver who traded him cider and cheese from Vermont.”

What makes Norman Rockwell’s Study for Triple Self Portrait special? “Rockwell is almost certainly the most famous illustrator and maybe the greatest illustrator who ever lived,” says Jaster. “Triple Self Portrait is a top 10 painting. It’s a tight study, it doesn’t have a long auction history, and it’s fresh to market. That all makes it wonderful. I hope you can hear the smile in my voice.”

How to bid: Norman Rockwell’s Study for Triple Self Portrait is lot #68139 in Heritage Auctions’s American Art Signature Auction on May 3, 2017 in Dallas.

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