The Hot Bid, Shelf Life: “Art Collecting Today: Market Insights for Everyone Passionate About Art” by Doug Woodham

Art Collecting Today cover

What you see: Art Collecting Today: Market Insights for Everyone Passionate About Art by Doug Woodham. *$24.99, Allworth Press.

 

Does it fit in my purse? Yes, just.

 

Cut to the chase. Should I buy this book? Yes.

 

You could call this Everything You Wanted to Know About the Art World, But Were Afraid to Ask, but Woodham wouldn’t, because he knows better than to reach for a joke that last got laughs in 1975.

 

Still, ACT serves that sort of role, explaining all the things you should know about art-collecting, but might not, or might have forgotten, and it does it without condescension.

 

ACT came out in Spring 2017 and has aged well overall (the GOP tax bill passed later that year affected the information on art and taxes, but c’mon,).

 

Woodham knows whereof he speaks, having embraced contemporary art as a 15-year-old and having followed a path that took him to a PhD in economics, a stint at McKinsey, and president of the Americas at Christie’s from 2012 to 2015.

 

This background helped him obtain almost 100 interviews for the book with collectors, art advisors (which is his current profession), auction house and gallery folks, lawyers, and others who might not normally speak as freely.

 

The material Woodham gathered from the anonymous dozens ensures that ACT is not a dry recitation of dos and don’ts. It pulls in topical art controversies that were live before May 2017, including the unusual threat that the Detroit Institute of the Arts faced in the wake of the city of Detroit declaring bankruptcy. It acknowledges the rise of Instagram and details its impact. It spends a chapter showing how six artists–Christopher Wool, Amedeo Modigliani, Yayoi Kusama, Rene Magritte, Ruth Asawa, and Elizabeth Murray–have seen their market reputations rise and fall.

 

And it deals head-on with the emotions of buyers and sellers. For ages, the tenets of economics assumed that market movers generally acted rationally. That’s never been true for art, and could never be true for art, because loving art isn’t rational. And art that goes unloved eventually goes unloved by the art marketplace.

 

ACT excels at grappling with the inherent irrationality of the art market, shedding light on its mysteries without killing its romance. It explores the alchemy of how love turns into money, or fails to, with deftness and brevity.

 

This book is perfect for subway journey reading and just-before-you-fall-asleep reading in that you can jump into it and out of it at will with the confidence that you’ll learn something, enjoy yourself, or both. Usually both.

 

Worth buying new, at full price.

 

How to buy Art Collecting Today: Please purchase it from an independent bookstore near you. If there isn’t one near you, try ordering it from the Strand Bookstore.

 

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.

 

Doug Woodham is on Instagram, and he has a website. He also publishes a quarterly e-newsletter, dubbed Art and Money. Scroll to the bottom of this page to subscribe.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Doug Woodham.

 

* I received Art Collecting Today as an advance review copy through one of the five people whose brains I picked when I was working out whether and how to do this blog. I’m confident that if I’d heard about it later, I would have bought it or put it on my wish list.

 

Art Collecting Today was originally published in Spring 2017.

 

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! Christie’s Sold John Atkinson Grimshaw’s “Spirit of Night” for (Scroll Down to See)

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Update: John Atkinson Grimshaw’s Spirit of Night sold for $362,500.

 

What you see: Spirit of Night, an 1879 oil on canvas by John Atkinson Grimshaw. Christie’s estimates it at $300,000 to $500,000.

 

The expert: Laura Mathis, specialist, 19th century European Art at Christie’s, and head of this European Art sale.

 

Do we know why Grimshaw might have painted Spirit of Night? Was this a book illustration? It’s not clear why Grimshaw picked up this subject matter, but it doesn’t seem to be a book illustration. This is more from his love of poetry. It inspired him to turn to this subject, that’s my feeling.

 

About that. The lot notes say the painting had a tablet with a quote from Percy Bysshe Shelley’s poem, To Night. Was the painting directly inspired by the Shelley poem?  I think it’s all but certain he was. The words “Spirit of Night” appear as the second line of the Shelley poem. He was interested in Keats and Browning. Tennyson was a favorite. Five of his 16 kids got their names from Tennyson’s poetry.

 

How does the painting depict the poem? In Shelley’s poem, the poet describes the personification of night emerging from her cave, ushering the personification of day from the world, putting all the creatures to sleep. I think that’s what’s happening here.

 

Is the city below her identifiable as a specific place? I don’t think the city is meant to be identifiable. It’s probably meant to stand in for any town. It’s by the water, which is mentioned in the poem. He wanted to explore [the effects] of reflected light.

 

How many fairy pictures did Grimshaw make? It’s hard to give an exact number, but there were approximately seven or eight. They were quite popular in Victorian times but the subject was on the wane by the time Grimshaw turned to it.

 

Where does Spirit of Night rank among them? I would say definitely it has an interesting and important place in the corpus of fairy painting.

 

Grimshaw was influenced by the Pre-Raphaelite painters. Where do we see that influence in Spirit of Night? Grimshaw starts painting in a lot of ways by looking at the Pre-Raphaelites. The use of color in the fairy wings speaks to the influence on his art and the level of detail as well, the lacy details of the fairy wings. If you get up close to the painting, the veining looks like dragonfly wings. The Pre-Raphaelites were almost fanatically interested in the most minute details of nature. That very close attention to nature is very Pre-Raphaelite.

 

How does the painting testify to his talent? To me, all of Grimshaw’s paintings testify to his talent. Not only was he self-taught, his family actively discouraged his painting. That he became an artist at all is a triumph. His mother would throw his paints on the fire and turn off the gas to his room, so he didn’t have heat. When he got married, he left home, and his wife, who was also his first cousin, was very instrumental in encouraging him to become a painter.

 

How does he achieve the luminescent effects? Because he didn’t have formal training, he taught himself. He would look at the beveled edges of mirrors to learn what the effect looks like, and his kids would bring home opalescent glass that he would keep by his easel as a reference.

 

Is the fairy outlined in white or silver? It’s a sort of silvery-white. It’s a very hard color to describe. The diaphanous cloth that covers her is a tour-de-force. The stars woven into the cloth is a direct reference to the poem. He doesn’t always have the easiest time painting the human form, but he really gets it spot on here.

 

Is that because he had a model for the Spirit of Night? Yes.

 

Let’s talk about that–his relationship with Agnes Leefe, and whether it was unusual or not. It sounds a bit sketchy to modern ears, but it seemed to be above board. Leefe was a ward who modeled for him and became a companion to his wife and children as well. It was like taking in a distant relative. The Grimshaws had a sad life. Of the 16 kids, six survived to adulthood. He would jokingly refer to Leefe as Little Orphan Annie.

 

How did they meet? I don’t know how they met, except it was in Leeds [where Leefe performed as an actress]. His daughter recalls her mom being not super thrilled when he brought her home, but she came around quick. There didn’t seem to be any impropriety. He and his wife were very happy, though Leefe’s death [from tuberculosis] was hard on them. It probably brought back memories of the losses of their other children.

 

How often do Grimshaw fairy paintings appear at auction? Fairly infrequently. There were two in the 1990s and two, including this one, in the 2000s. His landscapes appear more reliably.

 

When was the last time a Grimshaw fairy painting came up? The most recent one was in 2004, at Christie’s London. It went for just over $500,000. This one came up at Christie’s New York in 2002. It brought $537,500. The fairy pictures are tricky to price because they appear so infrequently. They’re atypical, compared to the landscapes. But 19th century European art is very image-driven. You have to take that into account when estimating.

 

What’s the record for a Grimshaw fairy painting? It’s this one, sold in 2002.

 

So there’s a chance it could reset the record? We’re keeping our fingers crossed.

 

What condition is the painting in? It’s in really nice condition. It does have an old lining on it but all the artist’s glazes are intact.

 

What is it like in person? The figure really does seem to be glowing. It pops and glows. The detail in the wings, too–you don’t pick up their lacy dragonfly quality until you get close to the painting.

 

Why will this painting stick in your memory? The fun of working in 19th century painting is covering so many schools and styles, and getting to see new things. I love to see an artist who’s so controlled and staid go completely outside the box. This definitely falls into that. The opalescent effect in the wings and the drapery–you don’t get that in Grimshaw’s moonlight scenes. Those are more about reflecting the light off of moss and brick. They’re beautiful, but this is in a class of its own.

 

How to bid: Grimshaw’s Spirit of Night is lot 51 in the European Art auction at Christie’s New York on April 30, 2019.

 

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.

 

Christie’s is on Twitter and Instagram. 

 

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

 

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Julien’s Auctions Might Set a World Record in Liverpool With John Lennon’s Copy of the Infamous “Butcher” Beatles Album Cover

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What you see: A U.S first state Butcher album prototype, stereo example, of the Beatles’ Yesterday and Today, which was owned by John Lennon. He inscribed and dated it and drew a sketch on the back cover. Later, the recipient obtained signatures from Paul McCartney and Ringo Starr. Julien’s Auctions estimates it at $160,000 to $180,000.

 

The expert: Martin Nolan, executive director of Julien’s Auctions.

 

So, let’s start with how this album cover came about. It was offensive in 1966, and many would find it offensive now. How did this image get chosen for the album cover? How did it advance as far as getting a press run of 750,000 before it was stopped and recalled? It was a time toward the end of the Beatles as a group, working together. They were jaded and tired and exhausted [with] another photo shoot, another album. Bob Whitaker shot the photo. Some say it was a message against the war in Vietnam. Another theory was that Beatles albums in the USA were not exactly the same as the format in the UK, and the four guys felt their albums were being butchered.

 

But it was not shot as an album cover. How did it end up on the cover? I think they got together and decided it would be amazing and send a message, whatever the message they thought they were sending. They were young lads. They had produced a new album every year. They had this experience [the photo shoot with Whitaker], this fun event, and decided it would be the cover of the album.

 

All four Beatles were in favor of putting it on the cover? Yeah, I think they were. Their lives were changing. They wanted something that was almost rebellious in a way, and they went along with it.

 

Do we know how many copies of the first state version of the Butcher cover–the ones that escaped into the market, and were not covered with the shot of the Beatles posing in and around the trunk–exist? Capitol Records sent it to retailers and radio stations and leaders in getting the message out about the upcoming album. Advance copies. Once it was out, [people] started to question it. Capitol Records recalled it. I expect at the time the sentiment of the people who didn’t like it returned it to Capitol Records and wanted a replacement one.

 

But do we have numbers on how many first state Butcher covers are out there? I’ve seen maybe five in the last 15 years. We also had the original album, the replacement, and additional photos related to the whole debacle. [Juliens’s sold the collection as a single lot in 2013 for $38,400 against an estimate of $30,000 to $40,000.]

 

Do we know how many first state Butcher prototype covers are out there? We do not. But what we should really focus on is it was John Lennon’s first state Butcher prototype cover. We sold Ringo Starr’s copy of the White Album for $790,000. Before that, the highest [the record for the most expensive record sold at auction] was an Elvis Presley record that sold for $300,000. This was Lennon’s, and he had a quote saying the cover was a comment on the Vietnam War–“If the public can accept something as cruel as the war, they can accept this cover.”

 

So Lennon was a proponent of the cover? Exactly. And the fact that this hung in Lennon’s apartment [in The Dakota in New York City], and it has John’s drawing on it–it’s an amazing part of this.

 

This is why I want to break it down, because there are a lot of moving parts here. Let’s subtract the Lennon provenance. A first state Butcher album cover prototype is pretty damn valuable on its own. It’s valuable. It’s really important. Collectors love to handle something like that and ideally it hasn’t been handled or opened or played. John Lennon did open and play it.

 

The John Lennon inscription is valuable on its own. Obviously, John Lennon is no longer with us. Anything signed by John Lennon has value in and of itself. Among the Beatles, he’s the most highly collectible.

 

The John Lennon artwork is valuable on its own. His drawings sell for a lot. We sold a concept sketch drawing for Sargent Pepper for $87,500 in 2017.

 

And it’s signed by all the Beatles except George Harrison. [Laughs] Dave Morrell [who received the record from Lennon] was a young guy in 1971. Later, when he saw how the collectibility of the Beatles was going, he thought it would be good to have all four signatures. George Harrison passed in 2001, but he got Paul and Ringo to sign. It’s hard to  do [get signatures from the surviving Beatles]. They rarely sign anything these days.

 

I imagine he tried to get George Harrison’s signature? Surely, he would have tried. Harrison was reclusive, and not as accessible as Paul or Ringo.

 

If the album had signatures from all four Beatles, would that raise the estimate? No, it wouldn’t. It would factor into the winning bid, not the estimate. Three out of four isn’t bad.

 

You sold Ringo Starr’s copy of the White Album for $790,000 against an estimate of $40,000 to $60,000. Is the estimate on Lennon’s Butcher cover conservative? When we did the Ringo auction, he was a gentleman to work with. We had everything finished on the catalog, and he asked to meet with us in London. He told us, “I’m going to give you something very special.” It had been in a bank vault for about 35 years. Everyone speculated that John Lennon had the first copy of the White Album, but it was Ringo. He wanted a reserve of $60,000. We said absolutely. We were so amazed by the reactions. It was just phenomenal, a world record. But to answer the question–we placed a conservative estimate. We can’t determine where it will end up.

 

What are the odds that Lennon’s Butcher cover will break seven figures? [Laughs] I certainly hope so, but you never know. It’s an auction. The sky’s the limit. We’re doing the auction in Liverpool, which adds to the hype. John Lennon’s artwork, the signatures, it’s a prototype of an album that was recalled, it all plays into what goes down on May 9.

 

Lennon traded this to Morrell for a reel-to-reel bootleg. For those who don’t know, can you explain a bit about bootleg culture, and explain why Lennon would have traded this album for a bootleg? It’s still happening today, exchanging and swapping [recordings made at concerts and other venues]. With Beatles memorabilia, there’s a huge network of people plugged into that. John Lennon was no different. Morrell had a Yellow Matter Custard bootleg. Lennon wanted it.

 

But we value that Lennon Butcher cover a lot differently in 2019 than Lennon and Morrell did in 1971. Can you explain why the trade made sense to them? Even though the concept of collectibility wasn’t as strong then as now, it was recognized as a collectible album, because of its notoriety. In 1971, people were keeping the cover with the original, controversial art. It wasn’t that unusual back in 1971 not to place a value on an item. They wanted to say they owned it. It was not monetarily driven like it is today. Lennon surely thought that getting his hands on the recording was more important to him at the time. He could get another album cover on his wall if he still needed it. Morrell was not interested in monetary value. He in turn got something he wanted.

 

It was as simple as, “I have this, and you don’t have it. Give me something I don’t have in trade for it.” Like trading baseball cards. If you have something really good, you can get something really good. If you have a B-rated item, you get a B-rated item in exchange.

 

Are there any period pictures that show the album hanging on the walls of Lennon’s apartment in the Dakota? I don’t know, but I’m not aware.

 

Is this the first time it’s come to auction? As far as I’m aware, yes.

 

The auction is planned for Liverpool. Did you get the consignment first, and then choose Liverpool, or did you choose Liverpool and then secure the consignment? We’ve been working with Liverpool for many years. We’ve done discovery days for the last three years, and we’ve uncovered some really interesting items. We thought it would be cool to hold a Beatles auction there at the Beatles Story Museum in Liverpool. This album came as a result of the call. Once the press release [about the sale] went out, we got the call.

 

Have you held the album in your hands? I had it in my hands Monday morning [March 25]. This gives me chills. There was so much controversy when it came out. John Lennon signed it, and it was on his wall. 50 years later, we’re talking about it. I’ve never seen an album like this. There are so many variations of collectibility in one album. There’s so much history, so many stories to be told.

 

How to bid: John Lennon’s copy of the first state prototype Butcher album cover is lot 266 in Music Icons: The Beatles in Liverpool, an all-Beatles auction conducted by Julien’s Auctions. It contains more than 200 items, and takes place on May 9, 2019.

 

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.

 

Julien’s Auctions is on Twitter and Instagram.

 

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

 

Martin Nolan previously spoke to The Hot Bid about Marilyn Monroe’s record-setting Happy Birthday, Mr. President dress,  a Joseff of Hollywood simulated diamond necklace worn by Hedy Lamarr, Ava Gardner, and several other Hollywood actresses; a once-lost 1962 Gibson acoustic guitar belonging to John Lennon that sold for $2.4 million–a record for any guitar at auction; and a purple tunic worn by Prince.

 

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! Potter & Potter Sold “The True History of Pepper’s Ghost” for (Scroll Down to See)

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Update: Potter & Potter sold the copy of The True History of Pepper’s Ghost for $1,020.

 

What you see: A copy of The True History of Pepper’s Ghost, an 1890 book by Professor John Henry Pepper. Potter & Potter estimates it at $600 to $900.

 

The expert: Gabe Fajuri, president of Potter & Potter.

 

What is Pepper’s Ghost, and how was John Pepper involved in it? It’s a theatrical effect used to manifest figures on a stage. They could be ghosts, they could be people, they could be objects, even. It was devised in the mid-19th century by Henry Dircks and popularized by John Pepper.

 

How did he popularize it? Pepper came up with a way to streamline the installation of the device. Dircks wanted to modify every theater in a major way to install the invention. Pepper made it adaptable and practical.

 

Why was the special effect such a big deal when it debuted in 1862? Because it made ghosts walk on stage.

 

Were there previous attempts to do something like Pepper’s Ghost, which fell short? I’m not aware of any, and I’m not an authority, but people had played with using glass in a similar way going back centuries.

 

To what extent, if at all, was the impact of Pepper’s Ghost amplified by debuting in a play based on a book by Charles Dickens? My recollection is the play it was used in involved the appearance of a ghost. What I like about that was Charles Dickens was an amateur magician. They probably chose it [the debut of the effect] coincidentally, but there’s some serendipity there.

 

What I find interesting is Pepper tried, almost heroically, to give due credit to Dircks, but the public persisted in calling the effect “Pepper’s Ghost.” But look at songwriting. Maybe it’s a stretch, but how many of Whitney Houston’s songs did she actually write? It’s the performance that makes the memory in the public mind.

 

But it’s not typical for someone to try as hard as Pepper did to share credit. No, especially when the profit motive is involved. But, eventually, Henry Dircks signed the patent over to Pepper. It shows he had no animosity to Pepper. It helped cement it in the public mind, I suppose, but the public doesn’t go back and read patent papers.

 

Have you read the book? Do we know why Pepper felt he had to write a book titled The True History of Pepper’s Ghost? I have not read it, and I don’t know his motivation.

 

Does it go into detail about how to produce the Pepper’s Ghost effect? Oh, yeah. The folding frontispiece shows you how to set it up. It’s literally the first page.

 

How is the Pepper’s Ghost effect used today? I know it’s been adapted for many practical and entertaining purposes. One you probably don’t think of is the headsup display on a car’s windshield. A more frivolous use brought Tupac Shakur to life on stage. It’s been used for decades in carnivals to turn a girl into a gorilla.

 

It’s a surprisingly durable special effect, given that it’s more than 150 years old. Sometimes, you know, simplicity is an art. It’s hard to improve upon something so direct and effective.

 

Do we know how many copies of the book were printed? Also, how many copies have you handled? I don’t know the number printed, but I’ve handled two or three in 11 years.

 

What condition is the book in? Lovely. It’s not in fine condition, but considering its age and scarcity, it’s good, in bookseller’s terms.

 

Who would have been the audience for this book? I imagine it would be scientists, or theater owners, or people who wanted to incorporate effects into a production. It could have been magicians or curiosity seekers as well. The cover is beautiful–one of its main attractions these days. The skeleton on the cover says it all.

 

How to bid: The True History of Pepper’s Ghost is lot 405 in The Magic Collection of Ray Goulet, a sale taking place at Potter & Potter on April 27, 2019.

 

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.

 

Follow Potter & Potter on Instagram and Twitter.

 

Gabe Fajuri is a favorite on The Hot Bid. He’s talked about a Will & Finck brass sleeve holdout–a device for cheating at cards–which sold for $9,000a Snap Wyatt sideshow banner advertising a headless girl, a record-setting stage-worn magician’s tuxedo; a genuine 19th century gambler’s case that later sold for $6,765; a scarce 19th century poster of a tattooed man that fetched $8,610; a 1908 poster for the magician Chung Ling Soo that sold for $9,225; a Golden Girls letterman jacket that belonged to actress Rue McClanahan; and a 1912 Houdini poster that set the world record for any magic poster at auction.

 

Gabe rightly points out that the peerless Jim Steinmeyer wrote the definitive book on the Pepper’s Ghost special effect: The Science Behind the Ghost, which you can purchase from Steinmeyer’s website.

 

Text is copyright Sheila Gibson Stoodley. Image is courtesy of Potter & Potter.

SOLD! Slotin Folk Art Sold the Minnie Evans Work on Paper For (Scroll Down to See)

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Update: The circa 1960s Minnie Evans work sold for $8,000.

 

What you see: Beautiful Portrait Surrounded by Vivid Flora, a circa 1960s work on paper by self-taught African-American artist Minnie Evans. Slotin Folk Art estimates it at $5,000 to $8,000.

 

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

 

I’d like to start by talking about Evans herself, and how she became a self-taught artist, and how her story matches other people who became self-taught artists. She seemed compelled to make art. Is that true of many other self-taught artists? It’s very typical. We like to say our artists are untrained and unschooled in art, but something happens and they’re driven to create art. She was definitely driven to create art, and create garden-like drawings that came from her surroundings as a gatekeeper for a garden. [Evans worked as the gatekeeper for Airlie Gardens in Wilmington, North Carolina from 1948 until she retired in 1974.]

 

She started making art at the age of 43. Is that unusually late for a self-taught artist to embark on a career? It’s hard to say what’s typical. Most artists don’t have the opportunity [to make art] until later in life. Evans created art as the gatekeeper because she had the time to do it.

 

Was she prolific? She was very prolific. She did a lot of drawings. Like a lot of these artists, she was somewhat obsessed with making art.

 

Has anyone come up with a conservative number of works that she made over her lifetime? I don’t know if there’s an actual number. She did a lot as the gatekeeper of the garden, selling them for 50 cents. There’s probably an untold number out there.

 

Was Evans discovered and recognized in her lifetime? She was. There was a folk art show at the Corcoran in the 1980s of self-taught African American artists [Black Folk Art in America, 1930-1980]. The show kicked off outsider art mania. It woke people up to what incredible artists we have in this country who are not influenced by academic or European masters.

 

Is this piece typical of Evans’s work? It’s very typical and very desirable. It’s got a central face with flora around it, and the colors are beautiful and strong, with one color bleeding into the next. It’s a really good indication of what her work looks like.

 

Is this a self-portrait? I don’t think it’s a self-portrait. It doesn’t look like her. She had a rounder face. I think there’s one distinct facial type that she does, and like the colors, the faces range the gamut from Caucasian to Native American to African-American depending on the individual piece.

 

How is she producing the effect of colors bleeding into the next–by mixing crayon and colored pencil? Back in the day I’m sure no one thought this would be as important as it is. [She worked with] everything she could get her hands on. That’s how most folk artists worked. Because no one considered them artists, they didn’t have the means to buy the best materials. I don’t know how she did it [the effect], but she did the best with what she had.

 

This is undated, but it has a circa date of the 1960s. Is that the period of her career that collectors prefer? Her strongest periods were the 1950s and 1960s. The look of it is really powerful and detailed. People like this period because the colors are strong and vivid and just beautiful. This is what they want to live with. In the 1970s, she was older, and not as strong, and may have spent less time on [each work].

 

The lot notes describe the piece as being in excellent condition. What does that mean here? I’m looking at the condition of the paper and the work. There’s no tears, no holes, and if it had paint on it, it means there’s no cracking or crazing or flaking off. Overall it’s in great condition.

 

Is that unusual for an Evans, given that she sold them directly to visitors to the garden where she worked as a gatekeeper? Remarkably, her paintings did well over time. We typically find them in really good condition. It would have been easy just to discard it if it was bought as a fluke. People saved them. Even if you didn’t know what it was, it’s very likable. You’d enjoy having it in your house and looking at it.

 

What’s the provenance for this work? This is from a longtime collector who had a fabulous collection [they’re] selling most of in this auction.

 

What is the work like in person? Are there aspects of it that the camera doesn’t quite pick up? The only thing you don’t see in the photo when you look at it in person is how the colors bleed into each other and how calming it is to be around the piece. It’s a wonderful piece.

 

How many Minnie Evans works have you handled at Slotin over the years? I’ve sold between 50 to 70 pieces, with her highest being over $30,000.

 

Would that be the auction record for Minnie Evans? That is the auction record. It was a larger piece, maybe two times the size of the one here. It was from the Rosenak collection, Chuck and Jan, who wrote the Museum of American Folk Art Encyclopedia of Twentieth Century American Folk Art and Artists. It had a lot of detail in it, faces and flowers and birds. I sold it 10 years ago. Maybe now it would go for $50,000 to $60,000. Prices have jumped so much on her work, if I had it back, it might have doubled by now.

 

How to bid: The Minnie Evans portrait is lot 0161 in the Spring Masterpiece Sale at Slotin Folk Art in Buford, Georgia on April 27 and 28, 2019.

 

How to subscribe to The Hot BidClick the trio of dots at the upper right of this page.

 

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 Manwhich ultimately sold for $1,200. He also discussed a painting by African-American artist Sam Doyle that later commanded $17,000.

 

Minnie Evans died in 1987 at the age of 95, but her memory lives on at Airlie Gardens through a sculpture garden that bears her name.

 

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

This Mid-century Nigerian Painting Was Rediscovered Under a Bed in Boston. Bonhams Could Sell It for $100,000.

Demas Nwoko, Bicyclists (1)

What you see: Children on Cycles, a circa 1961 painting by Nigerian artist Demas Nwoko. Bonhams estimates it at $70,000 to $100,000.

 

The expert: Giles Peppiatt, head of African art at Bonhams.

 

How prolific is Nwoko? Not at all, really. His later career was as an architect. In the last 10 years, I’ve only seen four or five come to market. We’ve been lucky enough to sell three in the last four years.

 

When did he stop painting? I would say by the end of the 1960s he had pretty much stopped painting to concentrate on architecture.

 

He hasn’t gone back? No. He was born in 1935. He’s a very elderly gentleman. I think he’s hung up his paintbrush.

 

Do collectors prefer works from this point in his artistic career? The early 1960s is more unusual and very nice to have in some ways. He was at his most formative.

 

The painting is undated. How do we know he made it circa 1961? Because it was bought at the Mbari Exhibition in 1961 [in Nigeria], and it was painted for that. It was his first exhibition.

 

Is this image typical of his work? I would say it’s typical. When I was sent the image, I recognized it immediately. It’s definitely his kind of subject and his manner of painting. His output is not large, and he’s not a household name, but that doesn’t make him less important as an artist.

 

Could you tell the story of how the painting was rediscovered? I was just sent this image by the Bonhams representative in Boston. It came from the son of the collector. It had been under a bed. We knew the collector had been in Nigeria in the 1960s. They asked, “What about this, is it special?” I said it was very special indeed. It’s nice to liberate it from its dusty lair under the bed.

 

Speaking of it having been stashed under a bed for 50-odd years, what sort of condition is it in? Putting it under a bed keeps it pretty safe. It got a bit dusty, but the dust can be taken off. [Under a bed] is the safest place, normally. It’s important not to move it because it can get damaged.

 

The family didn’t display it? It’s so easy for us, knowing what it’s value is, to say, “What are they doing? Are they mad?” If you didn’t think it was anything, you wouldn’t know it was anything.

 

Still, I’m surprised they didn’t hang it up. It has wall presence, yes? I agree. Every piece of art is taken a different way. For whatever reason, they didn’t display it.

 

So Children on Cycles was known, but considered lost until now? In some ways, it was. The only previously known image of it was a black and white photo in the archives of the Harmon Foundation.

 

People hear stories like this all the time, of some amazing piece of art discovered in an attic or a basement after decades… this stuff actually happens. What’s nice about the story as well is the artist is like a J.D. Salinger figure. He was an incredibly talented artist who became a recluse. He became an architect and became known as an architect. I think it’s glorious, the fact that his art is coming to light and fetching strong prices.

 

Is he reclusive, or does he just not promote his artistic career? I would say the latter. He’s not in any way promoting his art. He’s not a hermit, but he doesn’t go to art events.

 

Did he paint Children on Cycles from his observations of his surroundings, or is this an invented image? I don’t know. It could be his imagination, but he’d certainly see children on cycles. The red road is redolent of the baked clay roads they have in Africa. I wouldn’t be surprised if it’s what he observed.

 

What is it like in person? Are there aspects of the painting that the camera doesn’t pick up? In my view, it looks better in the flesh. When you get in front of the original work, it’s a lot more impressive. It’s the simplicity and the spareness of the work. The colors are strong and glowing.

 

How did you arrive at the estimate of $70,000 to $100,000? We’ve sold two or three Nwokos in the past two or three years. It [the range] is about right. I won’t be surprised if it performs a bit better. It’s one of the nicest and best Nwokos I’ve seen.

 

What’s the world auction record for a Nwoko? Was it set at Bonhams? Yes, we did set it. We sold Metro Ride in October 2017 in London and Rickshaw Ride in October 2018 in London for the same sum–$106,503.

 

What are the odds that Children on Cycles will set a new auction record for Nwoko? At the risk of giving it the kiss of death, I think there’s a chance it will break the record. Nothing is certain at auction, but at $107,000, it hasn’t got far to go.

 

Why will this painting stick in your memory? Probably because of the way it was discovered! [Laughs] Quite often, one goes to a collector and [the work to be consigned] is hanging on a wall to great fanfare. This came along rather gently.

 

How to bid: Children on Cycles is lot 6 in the Modern & Contemporary African Art sale at Bonhams New York on May 2, 2019.

 

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 Bonhams.

 

Giles Peppiatt appeared on The Hot Bid once before, speaking about a record-setting sculpture by Ben Enwonwu.

 

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John Atkinson Grimshaw’s “Spirit of Night” Could Fly Past $500,000 at Christie’s New York

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What you see: Spirit of Night, an 1879 oil on canvas by John Atkinson Grimshaw. Christie’s estimates it at $300,000 to $500,000.

 

The expert: Laura Mathis, specialist, 19th century European Art at Christie’s, and head of this European Art sale.

 

Do we know why Grimshaw might have painted Spirit of Night? Was this a book illustration? It’s not clear why Grimshaw picked up this subject matter, but it doesn’t seem to be a book illustration. This is more from his love of poetry. It inspired him to turn to this subject, that’s my feeling.

 

About that. The lot notes say the painting had a tablet with a quote from Percy Bysshe Shelley’s poem, To Night. Was the painting directly inspired by the Shelley poem?  I think it’s all but certain he was. The words “Spirit of Night” appear as the second line of the Shelley poem. He was interested in Keats and Browning. Tennyson was a favorite. Five of his 16 kids got their names from Tennyson’s poetry.

 

How does the painting depict the poem? In Shelley’s poem, the poet describes the personification of night emerging from her cave, ushering the personification of day from the world, putting all the creatures to sleep. I think that’s what’s happening here.

 

Is the city below her identifiable as a specific place? I don’t think the city is meant to be identifiable. It’s probably meant to stand in for any town. It’s by the water, which is mentioned in the poem. He wanted to explore [the effects] of reflected light.

 

How many fairy pictures did Grimshaw make? It’s hard to give an exact number, but there were approximately seven or eight. They were quite popular in Victorian times but the subject was on the wane by the time Grimshaw turned to it.

 

Where does Spirit of Night rank among them? I would say definitely it has an interesting and important place in the corpus of fairy painting.

 

Grimshaw was influenced by the Pre-Raphaelite painters. Where do we see that influence in Spirit of Night? Grimshaw starts painting in a lot of ways by looking at the Pre-Raphaelites. The use of color in the fairy wings speaks to the influence on his art and the level of detail as well, the lacy details of the fairy wings. If you get up close to the painting, the veining looks like dragonfly wings. The Pre-Raphaelites were almost fanatically interested in the most minute details of nature. That very close attention to nature is very Pre-Raphaelite.

 

How does the painting testify to his talent? To me, all of Grimshaw’s paintings testify to his talent. Not only was he self-taught, his family actively discouraged his painting. That he became an artist at all is a triumph. His mother would throw his paints on the fire and turn off the gas to his room, so he didn’t have heat. When he got married, he left home, and his wife, who was also his first cousin, was very instrumental in encouraging him to become a painter.

 

How does he achieve the luminescent effects? Because he didn’t have formal training, he taught himself. He would look at the beveled edges of mirrors to learn what the effect looks like, and his kids would bring home opalescent glass that he would keep by his easel as a reference.

 

Is the fairy outlined in white or silver? It’s a sort of silvery-white. It’s a very hard color to describe. The diaphanous cloth that covers her is a tour-de-force. The stars woven into the cloth is a direct reference to the poem. He doesn’t always have the easiest time painting the human form, but he really gets it spot on here.

 

Is that because he had a model for the Spirit of Night? Yes.

 

Let’s talk about that–his relationship with Agnes Leefe, and whether it was unusual or not. It sounds a bit sketchy to modern ears, but it seemed to be above board. Leefe was a ward who modeled for him and became a companion to his wife and children as well. It was like taking in a distant relative. The Grimshaws had a sad life. Of the 16 kids, six survived to adulthood. He would jokingly refer to Leefe as Little Orphan Annie.

 

How did they meet? I don’t know how they met, except it was in Leeds [where Leefe performed as an actress]. His daughter recalls her mom being not super thrilled when he brought her home, but she came around quick. There didn’t seem to be any impropriety. He and his wife were very happy, though Leefe’s death [from tuberculosis] was hard on them. It probably brought back memories of the losses of their other children.

 

How often do Grimshaw fairy paintings appear at auction? Fairly infrequently. There were two in the 1990s and two, including this one, in the 2000s. His landscapes appear more reliably.

 

When was the last time a Grimshaw fairy painting came up? The most recent one was in 2004, at Christie’s London. It went for just over $500,000. This one came up at Christie’s New York in 2002. It brought $537,500. The fairy pictures are tricky to price because they appear so infrequently. They’re atypical, compared to the landscapes. But 19th century European art is very image-driven. You have to take that into account when estimating.

 

What’s the record for a Grimshaw fairy painting? It’s this one, sold in 2002.

 

So there’s a chance it could reset the record? We’re keeping our fingers crossed.

 

What condition is the painting in? It’s in really nice condition. It does have an old lining on it but all the artist’s glazes are intact.

 

What is it like in person? The figure really does seem to be glowing. It pops and glows. The detail in the wings, too–you don’t pick up their lacy dragonfly quality until you get close to the painting.

 

Why will this painting stick in your memory? The fun of working in 19th century painting is covering so many schools and styles, and getting to see new things. I love to see an artist who’s so controlled and staid go completely outside the box. This definitely falls into that. The opalescent effect in the wings and the drapery–you don’t get that in Grimshaw’s moonlight scenes. Those are more about reflecting the light off of moss and brick. They’re beautiful, but this is in a class of its own.

 

How to bid: Grimshaw’s Spirit of Night is lot 51 in the European Art auction at Christie’s New York on April 30, 2019.

 

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 Christie’s.

 

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