WHOA! Sotheby’s Sold Canova’s Rediscovered Bust of Peace for More Than $7 Million

Canova, The Bust of Peace (side)

Update: Whoa! Canova’s Bust of Peace sold for £5.3 million, or slightly more than $7 million.

 

What you see: A Bust of Peace, sculpted in 1814 by Antonio Canova. Sotheby’s anticipates bidding in excess of £1 million, or $1.3 million.

 

Who was Antonio Canova? Born in 1757 in Possagno, Italy, Canova is the greatest of the Neoclassical sculptors and one of the greatest sculptors ever. You might not recall his name, but you’ve almost certainly seen his work–Psyche Revived by Cupid’s Kiss, The Three Graces, and Venus Victrix, to name three. (If you’ve been to the Louvre and managed to miss Psyche Revived by Cupid’s Kiss, go back, you did it wrong.) He died in 1822, at the age of 64.

 

The expert: Christopher Mason, director of the European sculpture and works of art department at Sotheby’s.

 

How rarely does anything by Canova come to auction, let alone one of his Ideal Heads? Very rarely. In the last 30 years at auction, I can think of only a handful of examples. Last year there was a bust of Murat in Paris. It sold for €4.3 million ($5 million). We had an Ideal Head in the early to mid-1990s. It sold for £750,000 and is now in the Ashmolean. Before that, there was one in the 1980s that went to the Getty. They’re very rare, as you can see from those examples.

 

The Bust of Peace belongs to a series Canova did that was dubbed the Ideal Heads. Why is that important? He produced very few Ideal Heads. He made them as gifts for patrons and friends, and that gave him a degree of freedom in the execution of his ideas. They’re different versions of what Canova considered to be beauty. Really what distinguishes the Ideal Heads is not facial characteristics, but the hair. This one is unique, and has uniquely beautiful hair. And it’s the only bust [of his] we’re aware of that has a tiara like that.

 

What did Baron Cawdor, the sculpture’s first owner, do for Canova that earned him the Bust of Peace? He was Canova’s first British patron and a substantial landowner over here. What comes across in his letters is he’s a nice man. He and Canova got on together, and they were personal friends. Baron Cawdor was an important patron who commissioned iconic works, including the Cupid and Psyche in the Louvre. It was sort of appropriated by Murat [Joachim Murat, a French military leader and brother-in-law of Napoleon]. At the time, Britain was at war with France, and Murat could say, ‘I’ll have that.’ We know by 1814, the first fall of Napoleon, many treasures of Rome were taken by French forces and were in the Louvre. Canova was very much a patriotic Italian, and he wanted to get them back. Baron Cawdor was among the British dignitaries who supported the effort to get them back. The bust may have been given to him for that reason. But through thick and thin, Baron Cawdor was a patron who stuck by Canova.

 

Where does the Bust of Peace rank among the Ideal Heads? How well-regarded is it? There aren’t many Ideal Heads. It is a rediscovery. This is literally the first time since 1817 that it’s been published as a Canova. It’s very much fresh off the block. In terms of beauty, in my opinion, it’s one of the more beautiful. It has this glorious tiara which none of the others have. Not only is it an early Ideal Head, it has a backstory that symbolizes the end of the Napoleonic era and symbolizes peace. It combines remarkable history and a remarkably beautiful work by the greatest Neoclassical sculptor.

 

The lot notes say that Canova’s Ideal Heads “caused a stir when they arrived in Britain.” Can you explain in more detail how they were received? I don’t think you can get better than the fact that Lord Byron wrote a poem about one of the heads. Lord Byron, the great poet of the age, wrote a poem about the great sculptor of the age. At the time, the Ideal Heads were totally different from anything that came before. They would have stood like icebergs among the galleries of paintings. This gleaming white marble of an objectively regal-looking woman must have been wholly refreshing in that environment.

 

Canova also did a Statue of Peace, which he started before making this bust and delivered after finishing the bust. How do the statue and the bust relate to each other beyond their shared theme? The statue is in Kiev and is difficult to access for that reason, but the images we have of the statue compare very well. It appears to be nearly identical. There is a small natural flaw in the bust, on the upper lip. Canova wrote to Baron Cawdor apologizing for it. It’s hugely important to us because [the flaw] is a characteristic we know it had when it left Canova’s studio. It’s very slight, but it’s there. We haven’t color-corrected it out [of the catalog images]. We’re very proud of it. It is historical, isn’t it?

 

Other Ideal Heads that Canova made for British patrons and friends have dedicatory inscriptions, but this one does not. Why? Baron Cawdor went to Rome and received it into ownership at that time. The lack of a price in the archives and the fact that the others were all gifts strongly suggest that the Bust of Peace was a gift. The other four Ideal Heads arrived later, in 1817. He sent them from Rome to patrons in the U.K. [without handing them over in person]. In my opinion, Canova saw the need to inscribe them, and it was probably more natural to him to carve in stone than write in ink.

 

Do we know who Canova’s model would have been for this bust and the statue? We don’t know whether he used a live model. The conventional thinking on this is the heads are formed solely in his imagination. That might explain why they [the bust and the statue] share the same facial characteristics.

 

What features does this Bust of Peace have that 19th century viewers would have recognized on sight, but which might be obscure to 21st century viewers? First, she’s crowned, and the only other Canovas that are crowned are the Statue of Peace and a portrait he did of Napoleon’s wife, Marie Louise. Clearly for the artist, the coronet represented harmony and peace. It was seen as the distinguishing characteristic of peace at the time. And it’s different from the others in that she assumes a serene and godlike expression, which shows the power of peace.

 

What condition is the bust in? It’s in very good condition. There is some minor wear, but the bust broadly retains its original surface and is particularly beautiful on the cheeks and neck–particularly smooth and perfect.

 

You said earlier that the bust is something of a rediscovery? It was considered to have been lost. When the Canova catalog raisonné was published in the 1970s, it was considered unknown. It was on view in 1817 at the Royal Academy in London. After that, it went into the Cawdor private collection until 1962, when they sold the contents of a house. It [the Bust of Peace] sold as an anonymous bust. It was at auction in 2012, again as an anonymous bust. Then it was acquired by the present owner, who, gradually, through a lot of work, figured out it was one of the Ideal Heads.

 

That is a heck of a discovery. I think the owner began to have an inkling of what it was and wrote to the great Canova expert, Hugh Honour, who is now deceased. He wrote back, ‘Congratulations on rediscovering one of the Ideal Heads, the Bust of Peace.’ The attribution was confirmed by the director of the Canova Museum in Possagno, Italy.

 

What is the Bust of Peace like in person? Personally, I find it very affecting. The bust is perfect in its conception. Peace is objectively serene, with a wonderful Neoclassical crown. The bust is designed so it can be viewed from any angle–as you move around it, the figure is changing. The tresses falling from the back of the head are arranged in a way that is not symmetrical. Canova’s great skill is producing harmonious compositions that are seemingly symmetrical, but not. It explains how he was able to breathe life into the composition. As you walk around it, it really does seem like Peace could spring into life. It’s one of the most beautiful marbles we’ve ever sold.

 

How to bid: The Bust of Peace is lot 25 in the Treasures auction at Sotheby’s London on July 4, 2018.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Sotheby’s.

 

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SOLD! A Rocky and Bullwinkle Scene Cel, Signed by Bill Scott to June Foray, Fetched $960 at Heritage

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Update: The Rocky and Bullwinkle scene cel, signed from the voice of Bullwinkle to the voice of Rocky, sold for $960.

 

What you see: A Rocky and Bullwinkle scene cel, signed and inscribed by Bill Scott, the voice of Bullwinkle J. Moose, to June Foray, the voice of Rocket J. “Rocky” Squirrel. Heritage Auctions estimates it at $1,500 to $3,500.

 

Who were Rocky and Bullwinkle? If these names are new to you, you have a treat in store. Introduced by Jay Ward, the two starred in one of the most exquisitely hilarious animated shows ever to grace a television screen. Rocky is a charming and peppy flying squirrel, and Bullwinkle is a charming but slow-witted moose. Together they dodge Boris and Natasha, Russian spies who try to catch and “keel” them. Other popular segments on the show feature the Canadian Mountie Dudley Do-Right and his nemesis, Snidely Whiplash; the time-traveling Sherman and Mr. Peabody; and Fractured Fairy Tales, which are exactly what you think they are. The show originally aired from 1959 to 1964.

 

The expert: Jim Lentz, director of animation art for Heritage Auctions.

 

What’s a scene cel? It’s a limited edition animation cel, not used in production.

 

How did this cel come to be? It post-dates The Rocky and Bullwinkle Show. It never went on camera. Foray started ASIFA, a union for animators. They had cel sales in parking lots and malls to raise money for the union. This is one of the cels made for an ASIFA fundraiser, and it was June Foray’s personal cel. It’s inscribed by Bill Scott to her. That changes everything–it’s as close to Rocky and Bullwinkle as you’re going to get.

 

This cel was made after The Rocky and Bullwinkle Show stopped production. Would it still have value if it didn’t have a Bill Scott signature and inscription and a June Foray provenance? Any Jay Ward art is valuable because there’s so little out there. It’s maybe $500 without the signature. This is worth $1,500 to $3,500, in that range. There are very few with signatures, maybe a handful. Bill Scott is not a signature you see a lot out there.

 

Does the cel belong to the first offering of items from June Foray’s estate at auction? Yes. I knew June very well. She was one of the most giving and intelligent and smart women I’ve met in my life. She was the one who led the charge to get animation [included] in the Academy Awards. She was a tireless crusader for animation in general, and she was the single most important woman in animation. She was the voice of Rocky over fifty years. She was Natasha. She was Ursula in George of the Jungle. She was Granny in the Tweety Bird cartoons. She was Cindy Lou Who in How the Grinch Stole Christmas. Chuck Jones once said, “June Foray is not the male Mel Blanc. Mel Blanc is the male June Foray.”

 

Why does The Rocky and Bullwinkle Show endure? Why do we still love it? It takes three things to make a great cartoon: animation style, acting, and writing. The Rocky and Bullwinkle Show might have been one of the best-acted and best-written cartoon shows. When you can make a child laugh and an adult laugh at the same time, for different reasons, that’s phenomenal.

 

How to bid: The Bill Scott-signed, June Foray-owned Rocky and Bullwinkle scene cel is Lot 96003 in the Animation Art Signature Auction at Heritage Auctions on June 16 and 17, 2018.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

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Jim Lentz has appeared on The Hot Bid twice before, talking about a vintage Kem Weber-designed Walt Disney Studios animation desk that sold for $13,145 and a Walt Disney-signed original animation cel from Song of the South that fetched just under $9,000.

 

ASIFA-Hollywood’s website devotes a section to June Foray, who died in 2017 at the age of 99.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Heritage Auctions.

 

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SOLD! Arthur Rackham’s Stunning Image of Danaë and the Infant Perseus Commanded $22,100 at Swann

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Update: Arthur Rackham’s 1922 original illustration of Danaë and the Infant Perseus sold for $22,100.

 

What you see: Danaë and the Infant Perseus, an original illustration in watercolor, ink, and wash on board by Arthur Rackham for the 1922 Hodder & Stoughton edition of Nathaniel Hawthorne’s A Wonder Book for Girls and Boys. Swann Auction Galleries estimates it at $10,000 to $15,000.

 

Who was Arthur Rackham? He was regarded as a leader in the Golden Age of British book illustration, which spanned 1890 to the onset of World War I. He enlivened editions of Alice in Wonderland, Rip van WinkleGulliver’s Travels, a Midsummer Night’s Dream and more. He died in 1939 at the age of 71.

 

Who were Danaë and Perseus? In Greek mythology, Danaë was the daughter of Acrisius, King of Argos. When an oracle told the king that his grandson would kill him someday, he locked his childless only daughter in a tower to thwart the prophecy. Zeus upended the plan by sneaking in to Danaë’s cell in the form of a shower of gold (yes, you read that right) and getting her pregnant with little Perseus. The king loaded his daughter and tiny grandson into a wooden box and tossed it into the sea, hoping that nature would take care of them. It did, but not the way he wanted; the box came ashore on the island of Seriphos. Danaë eventually caught the eye of that island’s king, Polydectes. Perseus, now closer to being grown up, agreed to kill Medusa and bring back her head to get Polydectes to leave his poor mom alone. The oracle proved correct when Acrisius went to Larissa to watch a sports exhibition. Perseus was there to play, and did not know that his grandfather was in the audience. He accidentally took the old man out when a discus throw went awry and clocked him.

 

The expert: Christine von der Linn, specialist in art books and original illustration at Swann Auction Galleries.

 

How was Rackham chosen for this 1922 project? He was known to work on Greek and Norse mythology and had done his own book in 1913, Arthur Rackham’s Book of Pictures, which had a lot of mythology. He was chosen by the publisher [for the 1922 release] because it was well known that he could execute illustrations of Greek and Norse myths, and that was what the Nathaniel Hawthorne book was about.

 

How many illustrations did Rackham do for the Hawthorne book, and how many for the Danaë and Perseus story? Sixteen color plates in all, and two for the story. This illustration was just used last year as the cover for a 2015 reissue of Nathaniel Hawthorne’s A Wonder Book. Arthur Rackham’s Book of Pictures has a different picture [of this scene in the story] that’s more Rackhamesque in a way. In this image, he concentrates more on the waves, and them being swept out. It’s more threatening. In the 1913 version, you don’t see Perseus’s face. He’s nestled into her breast. They’re in the same simple wooden box, and there’s clouds and wind, but there’s no forboding stormy sky. And the other one doesn’t have as much color as this one.

 

I saw a reference to Rackham having been influenced by Meiji woodblock prints. I couldn’t find more information than that before we spoke, but it made me feel less crazy when the waves in this illustration made me think of Hokusai’s The Great Wave. You don’t think of Rackham being influenced by Asian artists, but he was. He was the master of illustration in the time of three- and four-color printing. When he created an image for a book, the detail would often get lost in the four-color printing process. He’d often go back and re-ink pieces, and define the line very precisely. This image is Rackham, but it’s heavier and thicker than you’re used to seeing. If you cover Danaë and Perseus and just look at the left-hand side of the illustration, you’d think you’re looking at a Japanese woodcut.

 

Was Rackham prolific? He was one of the masters of the Golden Age of British illustration. He did a lot of magazine illustrations and job work before launching into his own deluxe editions. He dominated the Edwardian deluxe gift book market. His 1905 Rip Van Winkle cemented his reputation as a master illustrator.

 

How often do original Rackhams appear at auction? They come up with some frequency, and the prices are all over the place. The range in price depends on how well-known they are, and the amount of detail. A Wind in the Willows illustration sold last year in London for £52,500 ($70,700). It had all the hallmarks of a Rackham illustration, and it had the main characters in it as well. We sold one of his illustrations for A Christmas Carol–it was extremely popular and hotly contested at auction. It was Scrooge and the Ghost of Marley, and it sold for $32,500. The more iconic the image, the higher the price.

 

How did Danaë and the Infant Perseus come to you? This is from a private collection. It was purchased from a gallery in London several decades ago.

 

What qualities does this Rackham image have that makes it desirable to collectors? You have a scene taking place in nature, where the subjects are vulnerable to nature. Danaë and Perseus have this sort of sweet, pre-Raphaelite look to their faces–innocent features, very expressive, and the light touches of color enhance their expressions. And the treatment of the fabric is very Rackham-esque. You can see the figures beneath the clothing and you can tell the elements have affected them. He also shows the simple craftsmanship of the box and the wood grain and at the same time, shows how sturdy but delicate the vessel is. It’s also in how he puts the two figures in the foreground and on the right. Your eye goes to their faces, but you see the ferocity of the storm. It’s about them, but it’s about fear, and about the episode they’re about to face.

 

I’m surprised the estimate is as low as $10,000 to $15,000. It’s a strong piece, but the Rackham market is a little soft right now. While we love Rackham and he’s one of the greats of illustration and he’s still considered a favorite, he’s not among the greats for new, young collectors.

 

Why will this Rackham illustration stick in your memory? It’s a haunting image. It’s beautiful and haunting at the same time. It’s from one of my favorite works by Rackham. I love his treatment of Norse and Greek myths. I feel very few illustrators have been able to grasp the excitement and the drama of those myths like Rackham did.

 

How to bid: Danaë and the Infant Perseus is lot 38 in the Illustration Art sale at Swann Auction Galleries on June 5, 2018.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Swann Auction Galleries.

 

Christine von der Linn has appeared twice before on The Hot Bid, speaking about a Rockwell Kent-illustrated edition of Moby Dick and original Erté artwork for a 1933 Harper’s Bazaar cover.

 

Would you like to hire Sheila Gibson Stoodley for writing or editing work? Click the word “Menu” at the upper right for contact details.

SOLD! Zhang Xiaogang’s Bloodline: Big Family No. 9 Commands $4.8 Million at Phillips

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Update: Bloodline: Big Family No. 9 sold for HDK $38,350,000, or $4.8 million.

 

What you see: Bloodline: Big Family No. 9, a 1996 canvas by Zhang Xiaogang. Phillips estimates it at more than HDK 30 million, or around $3.8 million.

 

Who is Zhang Xiaogang? He is a contemporary Chinese artist who is best known for his Bloodlines paintings. His parents were government officials, and at one point during his childhood, they were forced to attend a re-education camp for three years. He graduated from the Sichuan Academy of Fine Arts in 1982, but it was a three-month stay in Germany in 1992 that transformed his approach to art. He embarked on the Bloodlines series soon after. Zhang turns 60 this year.

 

The expert: Wenjia Zhang, Phillips’s regional director in Shanghai.

 

The lot notes for Bloodline: Big Family No. 9 as an “extremely rare rendition.” What makes it an extremely rare rendition? Because this painting is directly based on a family photo of his parents and his older brother, the first child in the family, celebrating his 100-day birthday. It’s directly based on a family picture, but it’s more of a fantasy picture.

 

How many of the works in the Bloodlines series are based on photos of Zhang’s own family? I think this is one of very few. It may be the only one directly based on a picture of his family. In China, the previous generation all has this kind of family photo. It’s a generational thing, not just his family. I remember my parents’ wedding photo was very similar. And we didn’t have color photos. We only had black and white.

 

Do we know when that photo of Zhang’s parents and eldest brother was taken? I can’t say the exact year, but I think it was 1955, 1956, or 1957. [Zhang was born in 1958 and was the third of four children, all boys.]

 

Zhang painted this in 1996, which is about in the middle of the timespan given for the Bloodlines series. Does that make the painting more interesting to collectors? I personally don’t really think of the year as the most important year. I think it’s the work itself, and I think it’s the most important of his Bloodlines: Big Family series. This work is very romantic, reflecting a romantic part of his character. On the other hand, for the technical part, the brushstrokes and the drops of water on the face [the pink splotches on the right of each face] are very delicate. It makes me feel it’s very special.

 

When you say that the painting reflects a romantic part of his character, what do you mean? It’s because of the smoothness of the colors, the way that he painted, and the light on the painting. I can’t say more. It’s just a feeling.

 

Can you talk a bit about the imagery he’s using here that would have meaning to Chinese viewers? The immediate meaning to us Chinese people is our memories and our family. We all have this kind of photo for special occasions–birthdays, weddings. For him, the image of every figure in the Bloodlines series is a variation on his mother.

 

Why did he use the phrase ‘Big Family’ in the title when the family shown consists of only three people? I don’t think it’s meant to be ironic. It’s about the whole generation [in China] as a big family. For his generation, and less for mine, everyone was part of a big family. We share everything, we work together like a big family. Also, he was not part of the generation where they could have only one child per family. It does not have that meaning. He was not from the only child generation.

 

Where does this painting rank among those in the Bloodlines series? I think he started this series in 1994, after traveling to Germany. He was inspired by Gerhard Richter a lot. I think he came back to China and saw pictures in a library and from that time, he started painting the series. In 1996, his technique becomes more mature. He found the way to paint–this concept of the photo and trying to technically express his thinking of his memory. It’s very delicate. The colors are so beautiful and reflections of the lighting is extremely beautiful. Those things make this painting very different and very important. Also, in 1994 and 1995, his paintings are being chosen for the Venice Biennale [and other important shows]. For him it was a turning point.

 

Bloodlines: Big Family No. 9 explores ideas that Chinese people will recognize right away, but you don’t really need to know anything about Mao or the Cultural Revolution or 20th century Chinese life to fall under its spell. Why do you think it’s so powerful? Good question. What I can say is to share my experience of going to his studio. We’re not exactly the same generation. He was born in 1958, and I was born in 1974. I have no direct experience with the Cultural Revolution. I’m almost 20 years younger than him. When I first entered his studio, I was attracted to the color and the atmosphere of the painting. If it’s a good work, it can attract you. If it’s strong, you can feel it. For me, the work speaks for itself.

 

What’s the auction record for a work by Zhang Xiaogang? Might this work set a new record? I think the record is Bloodline: Big Family No. 3, which sold at Sotheby’s Hong Kong in April 2014 for HKD $94.2 million, or $12.1 million. Whether it will set a new record, we can’t say. Of course if it can make a record that would be so exciting for us, but we can’t say now. It really depends on the market and on the collectors.

 

What is the painting like in person? It’s very quiet. I think you can be immediately attracted by the painting when you enter a room.

 

How to bid: Bloodline: Big Family No. 9 is lot 12 in Pioneers of Modernism: A Selection from the Scheeres Collection, taking place May 27, 2018 at Phillips Hong Kong.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Phillips.

 

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What a Circus! Christie’s Could Sell a Fernando Botero Circus Painting for $2.5 Million

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What you see: Circus People, a 2007 painting by Fernando Botero. Christie’s estimates it at $1.5 million to $2.5 million.

 

Who is Fernando Botero? Born in Medellin, Colombia, Botero is a sculptor and painter. He might be better known for the former, as several of his bronzes have been installed outdoors in major cities. Botero invariably depicts people and animals with greater size and heft than you might expect–an artistic choice that has become his visual signature. During his long career, he has tackled sober, dark subjects such as the abuses of Abu Ghraib and the death of drug dealer Pablo Escobar, as well as more innocuous images of couples dancing and riffs on Old Masters. Botero is 86.

 

The expert: Virgilio Garza, head of Latin American art for Christie’s.

 

Botero has created about 120 circus-themed paintings. Where does Circus People rank among those images? This is one of the most complete in the sense that it has a circus. It reminds me of his very sought-after family groupings. It could be seen as a multi-character painting by Botero. The narrative is about performers in a circus who are not performing, but at the same time, they are performing. The sword swallower is swallowing a sword. The clown is playing with a baton. The snake charmer has a snake. Botero is saying they’re always performing whether they’re on stage or not.

 

Is Botero still painting and drawing circus scenes, or has he stopped? The whole Botero series started around 2006, from his visit to a small seaside village in Mexico where there was a very simple traveling circus. He started a series. Many 20th century artists have created works about the circus–Picasso, Calder. I think the Botero circus series is ongoing.

 

Is the painting based on real people who Botero saw, or does it show people who he invented after he was inspired by what he saw? Botero works with types. I think he never really depicts a specific person. They’re more sort of types in terms of the circus. They’re typed by profession–the sword swallower, the clown. Looking at his work in general, it’s consistent with the idea that he’s interested in types.

 

How does Botero’s circus series match up to other series of his? Are collectors particularly interested in his circus scenes? There’s demand for them, yes. Botero in general is sought-after. He’s a very popular artist globally and I think the circus is universally understood as a cultural activity. With his bullfighting series, some collectors look for his bullfighting pictures. Some are not attracted to bullfighting. It’s not for everybody. But the circus is universally understood. It’s very ingrained in the culture of Latin America, the U.S., Europe. It’s a family entertainment that people feel nostalgic about.

 

This painting is 63 1/2 inches by 75 1/8 inches. Is that unusually large for Botero? Or is this a typical painting size for him? No. We don’t see large paintings like this all the time, but he as an artist benefits from a larger scale, and his sculptures do, too.

 

Is it unusually large for a work from the circus series? The ones that have come up for auction have been much smaller. This work is very, very emblematic of the series. I think it is super-charming. I love the colors and the scale.

 

Did Botero use brighter colors than he normally would when painting circus images? It’s pretty consistent with other works from his mature style. It’s not unusual in that sense.

 

The painting is fresh to market–it’s making its auction debut. How important is that, considering that the works in Botero’s circus series are relatively recent, and will likely be fresh to market? It’s always desirable to have things that have never been at auction. It’s desirable if it’s old or if it’s new. In terms of auction sales, we like fresh-to-market works because there are new things to say. We try to present Botero and his circus works in an essay accompanying the painting. As an auction house, we try to explain where it sits within his broader production, and how special it is. About this particular sale–we have fantastic material by Botero from the late 1950s to the new millennium. We have a Mona Lisa from 1959 that’s wonderful. We have sculptures from the 1980s to more recent works. We have an Aurora painting from the 1990s that’s very beautiful. He’s very well-represented.

 

But isn’t that true of all of Christie’s Latin American art auctions? You’d think, but demand for his sculpture keeps rising and they’re very hard to get. We’re fortunate to have a nice group but you’re going to see them get scarce. He’s not fabricating new sculptures anymore as far as we know. What is out there is out there.

 

Are collectors more interested in his sculptures than his paintings? Not really. I wouldn’t say they’re more desirable. There’s a healthy market for both. I would say Botero is better known for his sculpture because many are outdoors, and the public is attuned to them.

 

Let’s talk about the size of Botero subjects. We see a circus here, but there is no fat lady, and none of the people are, technically speaking, fat. Botero has always been interested in the idea of volume, from early on. It started with the mandolin. He painted a round musical instrument, and by making the [sound] hole smaller, the scale grew. He started experimenting with variations of scale. Eventually the figures started to become bigger in terms of occupying more space. Botero created a universe very much his own. When he started to translate them to three dimensions with sculpture, by making them rounder and bigger, he created a universe where characters exist and assert themselves by their physicality.

 

What factors shaped the $1.5 million to $2.5 million estimate for Circus People? We think this is consistent with important paintings in the past in terms of scale, quality, and what it represents. Most of his important paintings are paintings of groupings. A family of bullfighters did very well many years ago. I think the picture has the potential to sell among the top ten paintings by the artist.

 

Why will this painting stick in your memory? It’s a beautiful painting. It’s vibrant, and at a very nice scale. It’s joyful, full of energy. It’s a great painting.

 

How to bid: Circus People is lot 44 in Christie’s Latin American Art auction on May 23 and 24, 2018.

 

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Christie’s is on Twitter and Instagram. 

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Christie’s.

 

Also see this May 2018 Christie’s piece on 10 things to know about Fernando Botero.

 

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RECORD! Heritage Auctions Sold an Original 1983 Panel From Gary Larson’s The Far Side for $31,070–an Auction Record for the Comic Strip! Also, Quack!

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Update: The original 1983 art for The Far Side sold for $31,070–a world auction record for original artwork from the comic strip. Hooray! And Quack!

 

What you see: An original panel of comic strip art from 1983 for The Far Side, signed by cartoonist Gary Larson and dated 10-31. Heritage Auctions could sell it for more than $11,000.

 

Who is Gary Larson, and what was The Far Side? Larson created The Far Side, a daily single-panel comic strip that ran from 1980 to 1995. Nothing on the funny pages has been like it before or since. The Far Side reveled in the surreal, the wacky, and the downright weird to the point where it makes little sense to try to explain its humor. You just have to see it for yourself. (Scroll down for relevant links.) Scientists, in particular, loved The Far Side. Larson has had a beetle, a louse, and a butterfly named in his honor. He will turn 68 in August.

 

The expert: Weldon Adams, comic book art cataloging specialist at Heritage Auctions.

 

How rarely does original art for The Far Side come to auction? Fairly rarely. In the past ten years, we’ve had 20 pieces of art.

 

How does that compare to, say, how often original Peanuts art appears at auction? We have about two of Charles Schulz’s Sunday strips in every signature auction we do, and we do them four times a year. For the dailys, three or four in an auction is not uncommon.

 

How does original art from The Far Side find its way to the market? Who has it? Where is it? I think Larson did sell a few occasionally, and he gave some out as gifts. But I have to assume he has the bulk of it.

 

How did this original panel from The Far Side come to Heritage? We’ve sold this particular strip before, in 2013, for $11,352.50. We expect it to go for what it sold for in 2013, if not more.

 

This strip dates to 1983, which is relatively early in the run of The Far Side. Does that matter? To a degree, yes. In general, the older the strip is, the more prized it is. But because Gary Larsons are so rare to come across in the first place, I don’t think it plays a role here.

 

Did Gary Larson do Sunday versions of The Far Side? Are those worth more than the dailys? In the later years, there are Sunday strips, but they’re more or less larger versions of the dailys. Sometimes there are two larger panel single-panel gags. I think they were printed on a larger scale. In other comic strips, the Sundays are physically larger, with more panels. In the case of The Far Side, the Sundays are functionally the same as the dailys, so I don’t know if there’s a difference.

 

How does the strip’s Far-Side-ness, for lack of a better word, influence its value? This scene between the man and the duck is a pretty straightforward joke by the standards of The Far Side. It’s not like Larson’s infamous “Cow tools” panel, which is held up as an example of how inscrutable the strip could be. It’s a good example of The Far Side‘s off-center sense of humor. The Far-Side-ness draws the fans in because it’s so off-center. You don’t have to look very hard to see that Larson was inspired by Charles Addams’s New Yorker cartoons and their very dark laughs. Only later do you think about the implications and go, ‘Oh.’ Gary Larson did slapstick humor with a dark edge. This is just lighthearted and goofy. He was a master of that as well. And ducks are funny.

 

Yeah, about that. Larson’s animals are beloved. His cows are probably the most beloved, but he had great strips that feature ducks, such as the one captioned ‘Anatidaephobia: The fear that somewhere, somehow, a duck is watching you.’ How does the presence of the duck affect the value of this original piece of art for The Far Side? Ducks are inherently funny. They’re essentially nature’s stand-up comedians, and they’re one of Larson’s go-to animals. His cow strips are very popular in part because cows are such a familiar animal in the Western world. Ducks are much the same. It’s a familiar animal, and it’s quick and easy to put a duck in a silly situation. The duck adds to the Far-Side-ness. We’re situated to laugh at a duck, from Donald Duck to Daffy Duck to Howard the Duck. Ducks are masters of comedy.

 

Do animals, in general, tend to add to the value of original art from The Far Side? I’d say probably so. Larson did plenty of strips with people in goofy situations, but where he really shines is anthropomorphism–aspects of making animals human. That’s what brings out the Far-Side-ness, in my opinion. Everyone loves the animals. It’s ideal to have both humans and animals [in a strip]. It sums up the silliness of both sides of the equation.

 

The art is described as being in “excellent condition.” What does that mean? Most comic strip art is in excellent condition. It’s looser than comic book grading. We don’t have a ten-point system for the art. This is artwork that was created on an art table. It was not created with the idea of keeping it in pristine condition. “Excellent” is the top. It means the paper is good quality. It’s not wrinkled or creased. There are no smudges and no lines that don’t belong.

 

What’s the auction record for a piece of original art from The Far Side? I don’t know the overall record, but I do know our record is for a piece of original comic strip art from 1981, which we sold in 2017 for $28,680. It shows a group of rabbits holding up a stagecoach at gunpoint, so it has the goofiness of humans and animals interacting in funny ways.

 

As of April 26, the lot has been bid up to $3,000, and the auction is two weeks away from closing. Does that mean anything? Early bids are always a good sign. It shows that people out there are interested. When you have more bidders, it’s better in general. But it only takes two. The end is where the real frenzy lies.

 

Why will this piece stick in your memory? The Far Side has a habit of sticking in your memory even if you don’t think it does. This one, when I saw it, it reminded me of another strip from The Far Side where scientists are studying the language of dolphins and they’re oblivious to the fact that the dolphins are speaking Spanish. I remembered that because I saw the panel with the duck speaking Spanish.

 

How to bid: The original 1983 comic strip art for The Far Side is lot #91031 in the Comics & Comic Art Signature Auction at Heritage Auctions on May 10 – 12, 2018.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page. You can also follow The Hot Bid on Instagram and follow the author on Twitter.

 

Heritage Auctions is on Twitter and Instagram.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Heritage Auctions.

 

Never seen The Far Side? You have a treat ahead of you. Purchase the collected strips, clear your calendar, and enjoy one of the best binge-reads life has to offer.

 

If you’re curious about the “Cow Tools” strip from The Far Side, see this Reddit thread that debates its weirdness and quotes Larson explaining what he was going for. It includes an image of the panel. The “Cow Tools” cartoon was so enduringly bizarre that it earned an entry on TV Tropes, too.

 

Weldon Adams previously spoke to The Hot Bid about an original Sunday Peanuts strip from 1958 with a Christmas theme. It ultimately sold for $113,525–a tie for the auction record for original Sunday Peanuts art.

 

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SOLD! A Painting by Self-Taught African-American Artist Sam Doyle Drums Up $17,000 at Slotin Folk Art

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Update: Penn Drummer Boy sold for $17,000.

 

What you see: Penn Drummer Boy, rendered in house paint on discarded tin roofing material around 1983 by Sam Doyle. Slotin Folk Art estimates it at $15,000 to $20,000.

 

Who was Sam Doyle? He was an African-American self-taught artist who painted images of people and events in the Gullah community of Saint Helena Island in South Carolina. He made his art with what he could scavenge. Born in 1906, he began painting in 1944 and displayed his works outside his home. Eventually, it evolved into the Saint Helena Out Door Art Gallery. Doyle gained fame after he was included in a groundbreaking 1982 show, Black Folk Art in America: 1930-1980 at the Corcoran Gallery of Art in Washington, D.C. He died in 1985, at the age of 79.

 

The expert: Steve Slotin of Slotin Folk Art in Buford, Georgia.

 

How prolific was Sam Doyle? Do we know? There probably is a finite number of works because he was producing for quite a few years and decorating his environment with images. When he got discovered, collectors bought them and he replaced them. There’s at least a thousand works, or it’s in the thousands.

 

Penn Drummer Boy is undated. Can we narrow down when he might have painted it? The family who owned it bought it directly from his environment. This is 1983 or just right after the Corcoran exhibit. The painting could have been in the yard for a year or two, or he could have just made it.

 

How often did he paint on metal? The majority of his works are painted on old, used roofing tin. Discarded roofing and discarded house paint was almost free material.

 

Is Penn Drummer Boy from his Penn series? This image was repeated. That wasn’t uncommon. It’s an image he’d already done, and when it was bought, he made another, and another, and another. When you’re extremely poor and white people come to your community and say, ‘I want one of those,’ you’re going to make one of those. If you wanted a Penn Drummer Boy, he’d make you a Penn Drummer Boy. His paintings reported what went on in his community. He painted people he knew. No one else was documenting what was going on in his community except for him. He would record people of importance, such as the first black butcher. You get a lot of history in his paintings, but you don’t necessarily realize it.

 

How many Penn Drummer Boy paintings are there? No one knows, but we’ve seen three or four in the last 25 years we’ve been doing this, and we’ve handled two or three.

 

How similar are they? Pretty much everything is similar to the one before it.  If it’s a midwife holding a baby, it’s the same midwife holding a baby. There’s not a lot of variation.

 

Doyle attended the Penn school when he was young, and later he became a father. Is there any chance that Penn Drummer Boy is a self-portrait, or maybe a portrait of one of his kids? I would not know that. I’ve studied this guy and what he looks like, and it’s probably not the same person. It could be a very young version of him, but I wouldn’t even go there. There’s no indication. It didn’t occur to me that it would ever be a self-portrait. He may have done one or two self-portraits [in his career].

 

Was Penn Drummer Boy ever displayed at the outdoor gallery? Everything was displayed in his yard until someone bought it. If you found him and walked onto his property, you could buy it. Nothing was there just for looksies. That was his gallery.

 

Did Doyle call it a gallery? Who knows what he called it. Everything was nailed to the outside of the walls. It was really an all-outdoor environment. Paintings were leaning against each other. It was not what me and you would say is a gallery.

 

How rare is it for a Sam Doyle to come to auction? We’ve been really lucky. We get one or two pieces in every sale, which happens every six months. We’ve certainly sold more than anybody else. We have a really good track record of getting the highest prices for our sellers and for the buyers, making sure what we have is correct. We do a really good job of vetting.

 

Are fakes a problem with Sam Doyle works? There were a few times people tried to pass things off as Sam Doyles, but they’re really quick and easy to spot. We won’t accept those pieces. Anytime money is involved, somebody will try to capitalize and make a quick buck.

 

So faking a Sam Doyle piece is harder than it looks? Right. A trained artist who mimics folk, self-taught, and outsider art still has training in art. After 25 years of doing this we’re pretty aware of what to look for.

 

Penn Drummer Boy is fresh to market–it went from Doyle to the consigner to Slotin. Is that rare? For Sam Doyle and for most of the works in the auction, that’s not rare at all. During the period of the 1970s, ’80s, and ’90s, collectors were visiting artists and buying directly from them. The original buyers have started getting older and need to figure out what to do with their art. If the children don’t want it, they sell it. We get a lot of stuff that’s never been sold or offered before.

 

As of April 6, 2018, about three weeks before the auction, Penn Drummer Boy has been bid up to $3,700. Does that mean anything? What you see online is basically lookie-loos. Most of the action on the piece will be in-house, online, or on the phone. The second that piece hits the auction block, and it’s on the block for 40 seconds to a minute, lots of hands in the auction will bid it up. $3,700 is nothing. It will hit the highest price in-house. That’s where it will go to $15,000, $20,000, $30,000.

 

What condition is it in? Self-taught artists, especially Sam Doyle, work with found material. This has rust, and holes for nails–that’s expected. You want to see that in a piece. You know it’s real. The colors are strong. It didn’t sit in the environment that long. It’s a pristine piece.

 

Why will Penn Drummer Boy stick in your memory? This is a really strong piece, in great condition. Those who bought it bought it right from the environment. I like everything it has going on. Everything you want to see in a Sam Doyle is there. It’s got the history. It’s got the colors. It’s easy on the eyes. It’s an all-around nice piece.

 

How to bid: Sam Doyle’s Penn Drummer Boy is lot 0132 in the Self Taught, Outsider & Folk Art sale on April 28 and 29, 2018 at Slotin Folk Art in Buford, Georgia.

 

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Slotin Folk Art Auction.

 

Steve Slotin previously spoke to The Hot Bid about a sculpture by Ab the Flag Man which ultimately sold for $1,200.

 

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