SOLD! Wright Sold That Amazing Macchie Vase for $8,450

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Update: The macchie vase sold for $8,450.

What you see: A macchie (mah-key-aye) vase created circa 1890 by the Italian company Francesco Ferro e Figlio. Wright estimates it at $4,000 to $6,000.

What is Francesco Ferro e Figlio? It was a company founded in 1880 by Francesco Ferro and his son, Ferdinando. It ceased doing business under this name after Francesco died in 1901.

Wait, this vase was made in 1890? The late 19th century? Seriously? “So many 19th century pieces really do look modern,” says Sara Blumberg, a consultant for Wright. “This has no handles and no great ornamentation except for the glass itself. They really were making a step forward out of the baroque.”

How difficult would this have been to make in 1890? “Regardless of the technique, there are great losses. There’s a level of difficulty when dealing with different types of glass in the same vessel. You can think of it as studio glass in that regard,” she says. “A lot of the aspects are dependent on the day, the blower, the conditions, and luck as well.”

The vase stands 12 inches tall. Did its size pose a challenge to the glassblower? “Generally speaking, the larger a vessel becomes, the more difficult it is to make,” Blumberg says. “Twelve inches may not seem incredibly large, but for the 19th century, it is.”

Is it unique? “It’s unique in the sense that every vase is hand-blown. But in 25 years, I’ve never handled one,” she says. “It’s really very rare.”

What does “macchie” mean? It means “spot,” or “spotted.” It’s a literal description of the vase’s appearance.

What else makes this vase special? “It’s rather startling to look at. It’s a simple vessel, but there’s all this activity on the surface. It’s like looking at an abstract painting,” she says. “It’s quite early, but it has a modernity to it. There’s an artistic presence here that’s very intentional, and beautiful to see. That’s what makes the piece so exciting and rare. You don’t come across it very often.”

How to bid: The macchie vase is lot 223 in The Design Collection of Dimitri Levas, taking place June 8, 2017 at Wright.

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

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SOLD! The Brett Whiteley Painting Fetched $538,366 at Bonhams Sydney

Lot 37_Whiteley

Update: Brett Whiteley’s Hummingbird and Frangipani sold for AU $719,800, or $538,366, at Bonhams Sydney.

What you see: Hummingbird and Frangipani, a 1986 oil on board by Australian artist Brett Whiteley. It comes directly from its original owner to Bonhams, which estimates it at $280,000 to $350,000 in Australian dollars, or $210,000 to $260,000 in U.S. dollars.

Who is Brett Whiteley? He was one of the leading Australian artists of the 20th century. He traveled the world, living in England and the U.S. as well as Australia. In 1978 he achieved the feat of winning the Archibald Prize, the Sulman Prize, and the Wynne Prize, the only time all three prestigious Australian art awards have gone to the same person. Overall, he won each award twice. He made several attempts to quit alcohol and drugs, but ultimately died of an opiate overdose in 1992, at the age of 53.

How often did Whiteley portray hummingbirds and frangipani? “He was fascinated with birds, and painted them from the 1970s onward,” says Alex Clark, an Australian art specialist at Bonhams. “You can often find frangipani hidden in the backgrounds of his paintings. You can find them all over Sydney, and being a Sydney boy, he had a close connection to them. This is a very beautiful painting that combines two of his favorite subject matters.”

How often did he paint birds? “He’s renowned for his birds,” he says. “In general, the bird is a sign of peace and freedom. Whiteley led a bit of a tumultuous life. When he painted birds, he was in a happier place. It gave him a lot of joy.”

How does Hummingbird and Frangipani showcase Whiteley’s strengths? “He has an amazing ability to give movement to paintings,” Clark says. “In this, you see it in the beautiful sweeping line of the hummingbird’s wing.”

What else makes Hummingbird and Frangipani a strong Whiteley work? “It’s an extremely elegant work, and it has great wall power,” he says. “It’s exciting to handle a work of this nature, especially since no one has seen it for 30 years. And his bird paintings are very sought-after.”

How to bid: Whiteley’s Hummingbird and Frangipani is lot 37 in the Australian Art and Aboriginal Art auction at Bonhams Sydney on June 6.

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

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SOLD! Sotheby’s Spectacular Diego Rivera Portrait Commands $2.4 Million

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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.

This oil-on-canvas 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? “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 work 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 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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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Sotheby’s.

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

Los Angeles Modern Auctions (LAMA)

Update: The Borofsky 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.”

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 Borofsky is lot 39 in the May 21 Modern Art & Design Auction at LAMA.

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Text is copyright Sheila Gibson Stoodley. Image is courtesy of Los Angeles Modern Auctions.

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SOLD! Phillips London Sells Ruud van Empel’s Ethereal Boy & Girl for More Than $88,000

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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.”

It’s 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 Boy & Girl 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: Boy & Girl is lot 84 in Phillips’s May 18 Photographs auction in London.

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

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SOLD! Martial Raysse’s Gift to Hotel Chelsea Manager Stanley Bard Commands $50,000–10x Its Low Estimate

MARTIAL RAYSSE

Update: Martial Raysse’s UNTITLED (EYES) 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 Raysse to give 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 UNTITLED (EYES) 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: Martial Raysse’s UNTITLED (EYES) is lot 32 in the Stanley Bard Collection: Life at the Chelsea sale at Freeman’s on May 16.

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

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LAST CALL: Spiral Magic: Wright Has an Onyx Noguchi Sculpture That Could Exceed $500,000

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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 Magatama such a powerful sculpture? “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 sculpture’s celebrity provenance–Noguchi 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 Noguchi sculpture is lot 5 in the Masterworks auction at Wright on May 25.

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Text is copyright Sheila Gibson Stoodley. Images are courtesy of Wright.

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