Archive for the 'Auction Results' Category

AO On Site Auction Results – New York: Sotheby’s Impressionist/Modern Sale November 4, 2009 – “An Incredible Thing to Experience”

Thursday, November 5th, 2009


Jeune Arabe, Kees Van Dongen (1877) sold for $13.8 million – a new record for the artist

In contrast to the slim pickings made available to buyers at Christie’s Modern and Impressionist Evening sale on November 3, last night’s sale at Sotheby’s offered many iconic works that had bidders excited and which resulted in an auction that Simon Shaw, Head of Sotheby’s Impressionist and Modern Art Department in New York described as “a shot in the arm for the art market. A real vote of confidence.” The evening’s auctioneer Tobias Meyer, Sotheby’s Worldwide Head of Contemporary Art, commented that after all his time at Sotheby’s he had never seen such an active sale. And indeed it was, with a grand total of $181,760,000 over a high-end estimate of $163,600,000, this sale marked the first time since May 2006 that Sotheby’s in New York have exceeded their top estimate.


L’Homme qui Chavire, Alberto Giacometti – an instantly recognizable icon of the modern era cast in 1951. Sold for a remarkable $19,346,500.

More text, images, related links and video after the jump….

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AO On Site Auction Results – New York: Christie’s Impressionist and Modern Evening Sale, November 3, 2009

Wednesday, November 4th, 2009


Danseuses, Edgar Degas (1896) all images via Christie’s

Last night, November 3, the fall auction season in New York kicked-off at Christie’s with their Impressionist and Modern evening sale – the smallest since May 2004. While vigorous bidding wars ensued for the finer pieces in the sale, there was no escaping the deathly silence that occurred when auctioneer, Christopher Burge, called for bids on a number of the auction highlights which included works by Camille Pissaro, Henri Matisse and Pablo Picasso, that eventually went unsold. Of the 40 lots on sale, 28 sold – making the overall total of $65,674,000, under the low-end estimate of $68,650,000.

More text, images and related links after the jump….
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AO On Site Auction Results – London: Sotheby’s Contemporary Art Sale Friday October 16th, Overall, expectations are reached and in many cases exceeded

Friday, October 16th, 2009


Afro Apparition, Chris Ofili (b.1968) all pictures from Sotheby’s unless otherwise noted.

Today Sotheby’s London held their October Contemporary Art Auction to coincide with Frieze Art Fair which is currently underway in London’s Regent’s Park and art observed was on site with coverage.  The 223 lot auction comprised of work, in a range of media, by leading post-war artists such as Jean-Michel Basquiat, Chris Ofili, Gerhard Richter, Anish Kapoor, Damien Hirst, Frank Auerbach, Anthony Gormley, Farhad Moshiri and Yan Pei Ming. 73% of the contemporary works were sold and the eventual total of the sales came in at  12,757,125 GBP. All sale totals stated in this article include buyer’s premiums and come directly from Sotheby’s official website or courtesy of The Baer Faxt.


Fuego Flores, Jean-Michel Basquiat

Related Links:
Sotheby’s Homepage
Autumn Fairs are a Barometer for the Art Market [NYTimes]
Can Frieze reheat the art market? [The Independent]

More text and images after the jump….
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AO Onsite Auction/Event Review: The 16th Annual Watermill Summer Benefit, Watermill, New York. Saturday July 25, 2009

Wednesday, July 29th, 2009


Terence Koh and Simon De Pury at the 16th Watermill Summer Benefit. Photo by Patrick McMullan

Robert Wilson greeted his guests as they arrived at the 16th Annual Watermill Summer Benefit- an event he choreographs every summer in order to raise funds for the artistic community to which he is the director. The evening included a silent auction, a live auction hosted by Simon de Pury – Chairman of Philips de Pury auction house, over 10 art installations interpreting this years theme “Inferno,” dinner,  theater performances of various genres and attendance by many from the worlds of art, fashion and music.

Related Links:
Hot as Hell At Watermill
[ArtInfo]
Fire Starters at Watermill Benefit [WWD Lifestyle]
Isabella Rossellini shows for Water Mill Benefit [Newsday]
Flaming Creatures [ArtForum]
The 16th Annual Watermill Summer Benefit Hot As An “Inferno” [Hamptons]
About Watermill Center [Watermill Center]
The 16th Annual Watermill Summer Auction and Benefit [Art Observed]


Attendees walk the trails behind the 16th Annual Watermill Summer Benefit and Auction at the Hamptons, all photos by Art Observed unless noted

More text and pictures after the jump…

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AO Auction Results: Old Masters Week at Christie’s and Sotheby’s in London – Auctions find strength and stability in the classics

Thursday, July 9th, 2009


Pieter Brueghel the Younger’s ‘Massacre of the Innocents’ sold for £4.6 million, above estimates of £2.5-3.5 million, via Sotheby’s

Old Masters Week at the auction houses in London finished solidly within estimates and outpacing the summer Impressionist and Contemporary auctions as buyers shift their focus toward the more stable market of old masters.  Christie’s Old Masters and 19th Century Art Evening Sale on Tuesday realized £20.5 million, above the low estimate of £15.5 million. 48 lots out of 63 sold, with a sold-by-lot rate of 76% and a sold-by-value rate of 91%. Sotheby’s Old Master Paintings Evening Sale yesterday realized £26.1 million, within estimates of £24-34.7 million, and the proceeding Renaissance & Baroque Masterworks from the Collection of Barbara Piasecka Johnson realized £9.9 million, considerably above estimates of £5.2-7.7 million, bringing the night’s total to £36 million. The Johnson sale achieved a sold-by-lot rate of 79% and a sold-by-value rate of 95%. The sale of works from individual collections achieved a sold-by-lot rate of 69% and a sold-by-value rate of 82%.

Old Masters & 19th Century Art Evening Sale [Christie’s]
Old Master Paintings Evening Sale [Sotheby’s]
Christie’s Auction of Old Masters and 19th Century Art Realises $32.8 Million [Artdaily]
Christie’s Auction Sells $32.7 Million of Art as Market Shrinks [Bloomberg]
Christie’s Sees Success With First Combined Sale [Artinfo]
Lot by Lot: Highlights of Christie’s London Old Masters Evening Sale [Art Market Monitor]
Sotheby’s Evening Sales of Old Master Paintings Totals $60 Million [Artdaily]
Lot by Lot: Highlights of Sotheby’s Old Master Sale [Art Market Monitor]
Johnson & Johnson Heiress Raises $15.9 Million at Art Auction [Bloomberg]
Old Masters retain their value [Wealth Bulletin]
Old Master price soars at auction [BBC]
Old Master sells for more than a million above estimate [Telegraph]
Old Masters art sale defies the downturn [Evening Standard]
Christie’s Rakes In $32.7 Million, New Category Said To Be Successful
[Luxist]
Old masters out-perform impressionist and contemporary art in summer sales [The Art Newspaper]
Whither the Old Master Market? [Art Market Monitor]

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AO Auction Results: Christie’s Contemporary Art Evening Sale, London, Tuesday, June 30, 2009 – Another ‘solid’ sale in a diminished market

Wednesday, July 1st, 2009


Peter Doig’s ‘Night Playground’ sold for £3 million, beating estimates of £1.5-2 million, via Artinfo

Rounding out the summer auctions, Christie’s Post-War and Contemporary Evening Sale took in £19.1 million, coming in around the lower end of estimates of £17.4-24 million.  35 out of 40 lots sold, with rates of 88% by lot and 86% by value.  The top selling lot was a large Peter Doig painting, ‘Night Painting,’ which sold for £3 million, quite above estimates of £1.5-2 million. According to the NY Times, collector François Pinault was overheard calling the sale “solid” and “serious.” Though the total value realized represents a 78% drop from last year, the high sell-through rate, consistent among the fine art auctions this season, shows that the market has settled enough for the auction houses to accurately gauge what buyers want.

Post-War and Contemporary Art Evening Auction [Christie’s]
Bidding Is Thin at Christie’s in London [NY Times]
Doig, Richter Sell as Christie’s London Auction Total Drops 78% [Bloomberg]
Market Motors Along at Christie’s Contemporary Sale [Artinfo]
Lot by Lot: Christie’s London Cont. Evening Sale [Art Market Monitor]
Lots of Profit at the Top [Artinfo] (more…)

AO Auction Results: Phillips de Pury & Company Contemporary Art Evening Sale, London Monday, June 29, 2009 – Comes Just Short of Low Estimate

Tuesday, June 30th, 2009


Ed Ruscha’s ‘That Was Then This Is Now’ sold for £713,250, falling between estimates of £600,000-800,000, via Phillips de Pury

Phillips de Pury’s Contemporary Art Evening Sale realized £5.1 million last night, missing its low estimate of £5.4 million.  With a much smaller and deeply discounted offering compared to last year’s sale, Phillips sold 30 out of 39 lots for a 77% sold-by-lot rate, beating last year’s rate of 66%.  However, this year’s totals represent a 79% decrease in value as last year’s sale brought in £24.5 million.  Conservative estimates helped, with many lots selling above their estimates.  The highest selling lot was Ed Ruscha’s fittingly titled ‘That Was Then This Is Now,’ going for £713,250, including buyer’s premium, putting it in the middle of estimates of £600,000-800,000.

Contemporary Art Evening Sale [Phillips de Pury]
Ruscha Canvas Leads a London Sale [NY Times]
Phillips Contemporary: That Was Then, This Is Now [Artinfo]
Phillips Sells 77% of Contemporary Art in London on Discounts [Bloomberg]

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AO Auction Results: Contemporary Art Evening Sale at Sotheby’s in London on Thursday, June 25, 2009 – Total sales near top of estimates

Friday, June 26th, 2009


Andy Warhol’s ‘Mrs. McCarthy and Mrs. Brown (Tunafish Disaster)’ sold for £3.7 million against estimates of £3.5-4.5 million, via Sotheby’s

Sotheby’s Contemporary Art Evening Sale in London yesterday realized £25.5 million, near the top of its estimates of £19.8-27.4, with one of the highest ever sell-through rates as only 3 of the 40 lots went unsold. The pared down sale is only a quarter of the value of last June’s sale, but along with solid results at Christie’s and Sotheby’s Impressionist sales earlier this week and brisk sales at Art Basel two weeks ago, the art market appears to have hit its bottom and has started to stabilize.  However, the highest selling lot was Andy Warhol’s ‘Mrs. McCarthy and Mrs. Brown (Tunafish Disaster),’ selling for just £3.7 million, at the low end of estimates of £3.5-4.5 million, nowhere near the blockbuster prices of a year ago.

Contemporary Evening Sale [Sotheby’s]
Sotheby’s Contemporary Art Evening Auction Realised $41.9 Million in London [Artdaily]
Buyers for Warhol and Calder [NY Times]
Warhol Sales Make $10.5 Million as Sotheby’s Turns to Big Names [Bloomberg]
Slim and Conservative, Sotheby’s Sale Proves a Winner [Artinfo]
The London Art Scene Feels a Chill [Wall Street Journal]

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AO Auction Results: Sotheby’s Impressionist and Modern Art Evening Sale in London Wednesday, June 24, 2009 – Small Sale Brings Solid Results

Thursday, June 25th, 2009


Pablo Picasso’s ‘Homme à l’épée’ sold for £7 million, falling squarely within estimates of £6-8 million, via Sotheby’s

Sotheby’s Impressionist and Modern Art Evening Sale last night in London yielded fairly strong results, due mainly to a slimmed down offering of high quality works. The 27 lot sale realized £33.5 million, towards the higher end of estimates of  £26.8-37.3 million, with only 4 lots going unsold and a sold-by-lot rate of 85.2% and a sold-by-value rate of 90.8%. Despite trouble finding sellers, choosing lots carefully paid off for Sotheby’s with spirited bidding throughout the auction. The sale’s big star, Picasso’s ‘Homme à l’épée,’ sold for £7 million against estimates of £6-8 million. Another late Picasso painting, ‘Nu debout,’ was the second-highest lot, selling for £4.3 million, above estimates of £3-4 million.

Sotheby’s Impressionist and Modern Art Evening Sale Results [Sotheby’s]
Sotheby’s Lean Strategy Pays Off [NY Times]
Sotheby’s London auction hits target at $55 million [Reuters]
Picasso’s $11.5 Million Musketeer Tops Sale as Bargains Hunted [Bloomberg]
Homme a l’epee Sells for 7 Million and Leads Sotheby’s Sale of Impressionist & Modern Art [Artdaily]
Lot by Lot: Sotheby’s I/M London Evening Sale [Art Market Monitor]
Picasso Musketeer Tops Sale by Sotheby’s [NY Times]
En Garde! Sotheby’s Sells Picasso Musketeeer Painting for $11.5 Million [WallStreetJournal]
Picasso musketeers duel at London auction houses [The Art Newspaper]
Sotheby’s Imp/Mod Sale Small but Solid [Artinfo]
Summing Up Sotheby’s I/M Evening Sale in London [Art Market Monitor]
Homme a l’epee Leads Sotheby’s Sale of Impressionist & Modern Art [Auction Publicity]

AO coverage of Christie’s Impressionist and Modern Art Evening Sale on Tuesday

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AO Auction Results: Christie’s Impressionist and Modern Art Evening Sale in London Held on Tuesday June 23rd Falls Short of Low Estimate

Wednesday, June 24th, 2009


Claude Monet’s ‘Au Parc Monceau’ sold for £6.3 million, well above its high estimate of £4.5 million, via Christie’s

Yesterday’s Impressionist and Modern Art Evening Sale at Christie’s in London realized £37.2 million, falling shy of estimates of £37.8-51.7 million, including buyer’s premium. 30 of the 44 lots offered sold, with a rate of 68% sold by lot and 84% by value. The highlight of the sale was Monet’s ‘Au Parc Monceau,’ which sold for £6.3 million, far above its high estimate of £4.5 million. Joan Miró’s ‘Peinture (Femme se poudrant)’ also attracted spirited bidding, selling for just under £4 million, against estimates of £2.2-2.8 million. The star lot, a Picasso Musketeer painting, ‘Man with sword,’ sold for £5.8 million, in the lower end of estimates of £5-7 million. Sotheby’s Impressionist and Modern Art Evening Sale takes places tonight in London.

Christie’s Impressionist/Modern Evening Sale Results [Christie’s]
Only a Few Hills in the Valley of Christie’s Season-Opening Art Auction [NY Times]
£1.5m Pissarro painting looted by Nazis withdrawn from auction [Telegraph]
Christie’s London sale falls short of low estimate [Reuters]
Buyers Focus on Works Worth the Fight [NY Times]
Monet, Picasso Fetch $20 Million; Auction Shrinks 74% [Bloomberg]
Christie’s Auction of Impressionist and Modern Art in London Realises $60.4 Million [Artdaily]
Christie’s misfires on £37m Impressionist and Modern art sale [Wealth Bulletin]
Christie’s Kicks Off London Season With Modest Imp/Mod Sale [Artinfo]
Family wrangle halts sale of £1.5m Pissarro stolen by the Gestapo [TimesUK]
Family Dispute Halts Sale of Pissarro Stolen by Nazis [Artinfo]
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AO Auction Preview: Summer auctions in London at Sotheby’s, Christie’s, and Phillips de Pury start tomorrow

Monday, June 22nd, 2009


Pablo Picasso’s ‘Homme à l’épée’ estimated to sell between £5-7 million via Christie’s

The summer auction season starts next week with the Impressionist and Modern Art Evening Sales in London at Christie’s on Tuesday, June 23, and at Sotheby’s the following evening.  Both sales feature a late Picasso painting,part of his Muskateers series, painted by the artist on successive days and both titled ‘Man with a sword.’  The Sotheby’s Picasso is estimated to sell between £6-8 million and the Christie’s Picasso is estimated between £5-7 million. Both auction houses each offered a Muskateer painting in the spring auctions, with one failing to meet its reserve and the other selling for $14.6 million. This era of Picasso’s works has been enjoying a wave of popularity after Gagosian Gallery’s ‘Mosqueteros’ exhibition (as covered by AO here) earlier this spring gaining record attendance, as well as two major museum shows in Paris and London focusing on the artist’s late career. The Post-War and Contemporary Art Evening Sales take place on Thursday, June 25 at Sotheby’s, Monday, June 29 at Phillips de Pury, and Tuesday, June 30 at Christie’s.  Though healthy sales at Art Basel last weekend have boosted confidence in the market, this season’s estimates are down over 70% from last year.

Christie’s Impressionist and Modern Art Evening Sale, Tuesday, June 23, 2009
Sotheby’s Impressionist and Modern Art Evening Sale, Wednesday, June 24, 2009
Christie’s Post-War and Contemporary Art Evening Sale, Tuesday, June 30, 2009
Phillips de Pury Contemporary Art Evening Sale, Monday, June 29, 2009
Sotheby’s Post-War and Contemporary Art Evening Sale, Thursday, June 30, 2009
Impressionist & Modern Art Evening Sale with Specialists Helena Newman and Alexander Platon [Video; Sotheby’s]
Contemporary Art Evening Sale with Specialists Oliver Barker, Cheyenne Westphal and Alexander Branczik [Video; Sotheby’s]
En garde! Rival houses offer Picasso musketeers
[Reuters]
Can Buying Impressionist Art Make You Happy? [Wall Street Journal]
Christie’s Resumes Cutting Jobs After May N.Y. Auctions Decline [Bloomberg]
Battle of the Picasso paintings [TelegraphUK]
London Sales Estimates Down 70 Percent From Last Year [Artinfo]
Warhol, Prince Works Fail to Save Art Sales From 70% Decline [Bloomberg]
After Basel, Dealers Have High Hopes for London Sales [Wall Street Journal]
Artworks by Goya, Fragonard, David and Turner for Sotheby’s July Old Master Paintings Auction [Art Auction Publicity]
Christie’s Post-War & Contemporary Art Auction Expected to Take £20 million [Art Auction Publicity]
Doig painting of Canadian childhood could fetch $3 M [Montreal Gazette via Art Market Monitor]
Duchamp, Miró, Marc, Monet and Picasso Highlight Christie’s Auction of Impressionist and Modern Art [Artdaily]
London Contemporary Art Auctions [The Art Collectors]
Phillips de Pury & Company Announce Highlights of the Forthcoming London Contemporary Art Sales [Artdaily]
Picasso, Monet and Giacometti, for Sotheby’s Sale of Impressionist & Modern Art [Art Auction Publicity]
Sotheby’s London Contemporary Art Evening Sale to Present Three Rare Andy Warhol Paintings [Artdaily]
The art market: Picasso endures [Financial Times]
Art Market Watch [Artnet]
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Newslinks for Saturday, May 23rd, 2009

Saturday, May 23rd, 2009


Ben Lewis BBC reporter for ‘The Great Contemporary Art Bubble’ via The Age

A video player of the BBC documentary: ‘The Great Contemporary Art Bubble’ which, though scathing, gained extraordinary access to collectors such as Adam Lindemann, Aby Rosen and the Mugrabi’s.  Of note is that the documentary filmmaker Ben Lewis actually admits to being the source that leaked White Cube’s unsold inventory prior to the famous Damien Hirst Sotheby’s Auction of 2008 [BBC]


The Guggenheim Museum via Guggenheim.org

The Guggenheim Museum celebrates its 50th anniversary with an exhibition on Frank Lloyd Wright [NYTimes]
The Wall Street Journal calls a possible art price floor based on NY Spring auction activity being the “smallest in 5 years”
[Wall Street Journal]
A lawsuit is filed against Christie’s over $3.2 million accepted bid alledgedly made after another accepted phone bid
[Bloomberg]
On the austere outlook for recent art school graduates
[Financial Times]

Supermarkets censor Manic Street Preachers album cover by Jenny Saville [BBC]
On Art in America owner Peter Brandt’s new exhibition space / festivities at his Greenwich estate [Art Forum]


A digital rendering of Karl Haendel’s ‘Scribble’ on 441 Broadway via NY Times

Art Production Fund sponsors a by-hand, massive “scribble” (on wall once used by Banksy) on Howard Street in Soho, New York [NY Times]
An article on the effect at auction of the duration of artists’ careers as well as how prolific they are [NYMag]
The Museum of Contemporary Art in LA cuts four exhibitions and 17 more jobs [LATimes]
The Fine Art Fund Group sets up to bid on 2 corporate art collections worth up to $65 million and holding works by Picasso and Cindy Sherman
[Financial Times]


Maria Baibakova via WWD

24-year old Russian Heiress Maria Baibakova is launching new contemporary shows in Moscow [WWD]
The Obama family redecorates the White House with works by Jasper Johns,Richard Diebenkorn, Jasper Johns and Robert Rauschenberg
[Wall Street Journal]


Deitch Projects director Nicola Vassell in her Soho loft via NYMag

On the salon-like atmosphere at Deitch Projects director Nicola Vassell’s Soho, New York apartment [NYMag]
Steve McQueen has lunch with the FT, speaks on his film ‘Hunger’ and the Venice Biennial [Financial Times]


The Museum Brandhorst in Munich via Cubeme.com

Munich’s Brandhorst Museum opens, housing works by Joseph Beuys, Bruce Nauman, Damien Hirst and Gerhard Richter [The Art Newspaper]


A trip photo by Rita Ackermann in Marfa via Blackbook

Rita Ackermann documents her artist in residence in Marfa, home of Donald Judd’s Chianti Foundation [BlackBook]


101 Spring Street, the former home and studio of artist Donald Judd in Soho, New York

In related, the Judd Foundation will restore 101 Spring Street, a cast iron building that was the home and studio of artist Donald Judd. [ArtDaily]


The artist Dash Snow in his Bowery Studio via the Fashionisto

Artist Dash Snow profiled in Muse Magazine [Muse]
Nearly 11,000 people have applied to be part of Antony Gormley’s interactive sculpture on London’s Fourth Plinth, to run from July to October
[Independent]
‘Sold Out,’ the original title for ‘The Warhol Effect,’ the Tate Modern’s autumn show featuring Hirst, Koons and Haring , was rumored to have been vetoed by one of the artists due to its double meaning
[GuardianUK]
Damien Hirst is the Art Curator for ‘Boogie Woogie,’ a new fictional film on the inside of the art world [TimesUK]
And Hirst opens a show of his work in Prague
[RadioPrague]


The Torment of Saint Anthony, reportedly by Michelangelo

The Kimbell Art Museum in Fort Worth, Texas purchases what it believes to be Michelangelo’s first painting, which he completed when he was 12 or 13 years old [DallasNews]
The Hermitage and the State Russian Museum are accused of tax evasion by the Federal Tax Police [The St. Petersburg Times] via ArtinAmerica


The Art Institute of Chicago’s Modern Wing via ArtInfo

The 264,000 square foot Renzo Piano designed Modern Wing of The Art Institute of Chicago opens, making the museum the second largest in the US [ChicagoTribune]
A £3 million, 2-ton Henry Moore sculpture stolen in 2005 was most likely melted down and sold for £1,500 worth of scrap metal
[GuardianUK]
President Sarkozy will attend the groundbreaking ceremony for the controversial Louvre in Abu Dhabi
[ArtNewspaper]


Richard Prince’s ‘After Dark’ Tapestry on the Hong Kong Museum of Art via Wallpaper

Richard Prince covers the Hong Kong Museum of Art in pulp-fiction novel covers to commemorate the exhibition “Louis Vuitton : A Passion for Creation” [ArtDaily]
In related, with a 31%
attendance increase and strong sales, the 2nd Hong Kong International Art Fair is deemed a success [HongKongArtFair]


The New home of Hauser and Wirth New York at 32 East 69th Street via ArtInfo

Gallerist David Zwirner will open a new gallery in Shigeru Ban’s Metal Shutter House on West 19th Street and, uptown, Hauser & Wirth New York (following last month’s debut of Swallow Street, its London exhibition space for emerging artists) will open an Annabelle Selldorf-designed space in the building that was formerly occupied by Zwirner and Wirth on 32 East 69th Street [ArtReview]
The Albion Gallery in London closes in bankruptcy
[Artinfo]
Roughly 25 out of 388 galleries in Chelsea have closed but at least 10 new galleries have opened, with more are on the way [Crain’s]

AO On Site Auction Results: Phillips de Pury Part I Contemporary Art Sale falls short but with records set for artists represented by moderately priced works

Saturday, May 16th, 2009


Simon de Pury at the helm at the auction in front of the Philip Guston

Last night’s contemporary auction at Phillips de Pury fell short of its low estimate of $12.2 million, bringing in $7.7 million, with 12 of the 43 lots going unsold.  The sale’s highlight, an untitled Robert Gober sculpture of a Farina cereal box valued at $2.5-3.5 million, went unsold with only one bid at $1.6 million.  An untitled Anish Kapoor sculpture, estimated at $800, 000-1.2 million, also was met with no bids.  However, one of the auction highlights, Philip Guston’s painting, ‘Anxiety,’ was the highest selling lot, going for $1 million, just making its low estimate. John Baldessari’s painting, ‘Person with Pillow: Desire/Lust/Fate,’ sold for $290,500, missing its estimate of $300,000-400,000.  It had sold at Sotheby’s a year and a half ago for nearly double that amount.  Many artists however, such as Zeng Fanzhi, whose show just concluded at Acquavella Gallery in New York and was covered by Art Observed here did break auction records (work shown below), the details of which are after the jump.

Phillips Contemporary Auction Falls Short of Estimate [NY Times]
Phillips Limps to the Finish Line [Artinfo]


Zeng Fanzhi’s ‘Little Boy’ via Phillips de Pury sold for $446,500 against estimates of $250,000-300,000

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AO Auction Preview: New York Contemporary Art Part I Sale

Thursday, May 14th, 2009


–>
Philip Guston’s ‘Anxiety’ via Phillips de Pury, estimated to sell for $1-1.5 million.

The last of the post-war and contemporary art auctions takes places tonight at Phillips de Pury & Company in New York.  Pre-sale estimates are $12.2-17 million for 43 lots. Highlights include a late Philip Guston painting, a sculpture of a Farina cereal box by Robert Gober, estimated at $2.5-3.5 million, and an Anish Kapoor sculpture, estimated at $800,000-1,200,000.  AO will be on site to cover the auction, starting at 7pm tonight.

Phillips de Pury & Company
–>
New York Contemporary Art Part I Sale
–>
Thursday, May 14, 2009, 7pm
–>
450 West 15th St
–>
New York, NY

Phillips de Pury & Company
–>
Phillips de Pury & Company Announces the Highlights from its Forthcoming New York Contemporary Art Part I Sale [Artdaily]

The New York Times Calls for Submissions for the ‘Modern Love’ College Essay Contest.

Entertainment Close-up February 17, 2011 The New York Times opened its second “Modern Love” college essay contest to undergraduates nationwide.

Students at least 18 years of age, residing in the United States and enrolled in an American college or university are invited to submit personal essays between 1,500 and 1,700 words that illustrate the current state of love and relationships. The winner will be published in a special Modern Love column in The New York Times Sunday Styles section, the Company said. in our site college essay topics

In this age of Facebook, texting, new attitudes about sex and dating, evolving gender roles and 24/7 communication, what is love now? The New York Times invites students to explain what love is like for them.

According to a release, four semifinalists and one grand prize winner will be chosen. The winning essay will be published in the newspaper on May 1 and on NYTimes.com, and the winner will receive $1,000. Semifinalists may also have their essays published in print and on NYTimes.com. Full contest details are available at NYTimes.com/EssayContest. The deadline for submissions is 11:59 p.m. Eastern time on Thursday, March 31.

“Three years ago, we were overwhelmed and moved by the depth of insight and the emotional resonance in many of the essays we received,” said Daniel Jones, Modern Love editor, The New York Times. “We look forward to hearing what college students have to say about love today.” Launched in October 2004, The New York Times Modern Love weekly column publishes reader-submitted personal essays about a range of relationship experiences, including marriage, dating, divorce and parenthood. website college essay topics

The New York Times Company, a media company with 2010 revenues of $2.4 billion, includes The New York Times, the International Herald Tribune, The Boston Globe, 15 other daily newspapers and more than 50 Web sites, including NYTimes.com, Boston.com and About.com.

More information:

www.nytco.com ((Comments on this story may be sent to newsdesk@closeupmedia.com))

AO Auction Results: Christie's Post-War and Contemporary Art Evening Sale Surprisingly Strong, Auction Records Reached for Many Artists

Thursday, May 14th, 2009


–>
Willem de Kooning’s ‘Woman’ via Christie’s sold for $3.7 million, more than doubling its high estimate of $1.8 million.

Again, Christie’s bested Sotheby’s in this week’s Post-War and Contemporary Art auctions after Sotheby’s failed to meet its low estimate, covered here by AO.  Last night’s sale in New York resulted in a total of $93.7 million, falling within the higher end of the pre-sale estimates of $71-104 million. Only 5 of the 54 lots went unsold, with 30 selling for more than $1 million.  After a night of lively bidding, Christie’s co-head of post-war and contemporary art, Amy Cappellazzo joked that, “It felt like a year ago.” Last year’s sale brought in $348.2 million, with a number of works selling in the double digits. This year, estimates were far more conservative for the chastened market, with the highest-selling lot, David Hockney’s ‘Beverly Hills Housewife,’ going for $7.9 million, setting a new record for the artist. The portrait of the late Betty Freeman was one of 20 in the sale coming out of the Betty Freeman Collection, another factor contributing to last night’s success.


–>
David Hockney’s ‘Beverly Hills Housewife’ via Christie’s sold for $7.9 million, falling within estimates of $6-10 million and setting a new record at auction for the artist.

New World Auction Records set for Hockney, Oldenburg, Wheeler, and Smith at Christie’s [Artdaily]
–>
At an Upbeat Christie’s Auction, Some Record Prices [NY Times]
–>
NY auctions end with solid contemporary art result [Reuters]
–>
Christie’s Auction Beats Estimate, Boosts Confidence [Bloomberg]
–>
Betty Freeman Portrait Fetches $7.9 Million in N.Y. Auction [Bloomberg]
–>
Christie’s Contemporary “Gets It Right” [Artinfo]
–>
Christie’s Auction Rekindles Art Optimism [WSJ]

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AO Auction Results: Sotheby’s New York Post-War and Contemporary Art Evening Sale Posts Anemic Results

Wednesday, May 13th, 2009


Martin Kippenberger’s ‘Untitled’ via Sotheby’s sold for $4.1 million, falling within estimates of $3.5-4.5 million and setting a new record at auction for the artist.

Sotheby’s Post-War and Contemporary Art Evening Sale resulted in another disappointment for the beleaguered auction house following last week’s thin Impressionist and Modern Art sales. Total sales were estimated at $51.8-72.4 million for 49 lots, but the total came up short at $47 million, with 9 lots failing to sell. However, the auction is not viewed as disastrous, considering Sotheby’s put very little money up front, and the star of the show, a Jeff Koons sculpture from his ‘Celebration’ series, did manage to sell, unlike at last week’s auction.  However, ‘Baroque Egg With Bow (Turquoise/Magenta)’ fell short of its $6 million low-estimate, selling for $5.4 million to Larry Gagosian.  The piece was put up by hedge fund manager Daniel S. Loeb, who originally bought it from Gagosian in 2004 for what is believed to be around $3 million.

While the dollar amounts were nothing compared to a year ago, the auction did sell 81.2% of its lots, with 78.1% of total value realized. Still, the auction comes on the heels of Sotheby’s 1st quarterly earnings report, posting a loss of $66.7 million with the market looking tepid for some time to come.

Sotheby’s Sale Fails to Meet Low Expectations [WSJ]
In ‘a Recalibrated Market,’ Auction Buyers Take Over [NY Times]
Bidders respond to lower prices for contemporary art [Reuters]
Sotheby’s Contemporary Sale Solid but Subdued
[ArtInfo]
Loeb Sells Koons Egg for $5.5 Million at Sotheby’s in New York [Bloomberg]
Sotheby’s Tax Benefit Offsets Average Daily Loss of $1 Million [Bloomberg]
Sotheby’s shares tumble after weak auction [Crain’sNewYork]
(more…)

AO Auction Preview: Spring Post-War and Contemporary Art in New York

Tuesday, May 12th, 2009


Jeff Koons’s ‘Baroque Egg with Bow (Turquiose/Magenta)’ via NY Times goes on sale at Sotheby’s with estimates between $6-8 million

The spring Post-War and Contemporary Art auctions take place this week in New York at Sotheby’s tonight, Christie’s tomorrow night, and Phillips de Pury on Thursday night. Last week’s Impressionist and Modern Art auctions, covered by AO here, and also here, brought in far less than a year ago, but considering the economic climate were viewed as middling successes (aside from Sotheby’s spectacular Picasso and Giacometti flops).  However, the contemporary sales will be more of a litmus test for a chastened market.  After years of record-setting sales, this year all three auction houses have reined in the estimates, no longer providing the guarantees to sellers that burned them last fall.

Sotheby’s is offering 49 lots, with total estimates of $52–72.2 million, compared to the $362 million it brought in last spring. Highlights include an untitled painting by Martin Kippenberger of a fat man with balloons and Jeff Koons’s ‘Baroque Egg with Bow (Turquiose/Magenta),’ part of the artist’s ‘Celebration’ series, which includes ‘Hanging Heart,’ a sculpture that set the record for a living artist at auction in the fall of 2007. While ‘Hanging Heart’ sold for $23.6 million, ‘Baroque Egg with Bow (Turquiose/Magenta)’is expected to sell for $6-8 million.  Christie’s is offering 54 lots, with total estimates of $71.5–104.5 million.  On the catalog cover is Jean-Michel Basquiat’s ‘Mater,’ a rare occurrence of a female figure within Basquiat’s oeuvre, expected to sell for $5-7 million. A number of works from the collection of Betty Freeman are also up for auction, including David Hockney’s portrait of the philanthropist in her home, ‘Beverly Hills Housewife,’ estimated to go for $6-10 million.  Lastly, Phillips de Pury & Company is offering 43 lots, with estimates of $12.2–17 million. Highlights from that sale include a Robert Gober sculpture of a Farina cereal box, estimated at $2.5-3.5 million, and a late, figurative painting by Philip Guston, estimated at $1-1.5 million.

The sales also include a number of Minimalist works by artists such as Dan Flavin, Donald Judd, Sol Lewitt, and Agnes Martin.  Many experts view these works as under-priced, and present more in museum collections than private collections.  This round of sales sees fewer works by the Pop artists that made headlines in the boom times like Warhol and Rauschenberg.

Rare and Spectacular Master Works Highlight Christie’s Post-War & Contemporary Art Sale [Artdaily]
Little Warhols [NY Mag]
Phillips de Pury & Company Announces the Highlights from its Forthcoming New York Contemporary Art Part I Sale [Artdaily]
The art market: Skinny sales and demoted billionaires [Financial Times]
Jeff Koons’s rabbit: market news [Telegraph]
The Art Market Is Back? Now That’s Surrealism [WSJ]
Sotheby’s Post-War and Contemporary Art Evening Sale [Sotheby’s]
Christie’s Post-War and Contemporary Art Evening Sale [Christie’s]
Phillips de Pury Contemporary Art Part I Sale [Phillips de Pury]

AO Auction Results: Impressionist and Modern Art Evening Sale at Christie’s – Expectations reached

Thursday, May 7th, 2009


Pablo Picasso’s ‘Femme au Chapeau,’ via Christie’s, sold by Julian Schnabel, went for $7.7 million, slightly under the estimate of $8-12 million

Last night’s Impressionist and Modern Art Evening Sale at Christie’s fared better than Sotheby’s auction on Tuesday covered here by AO, with 38 of the 48 lots selling, realizing 94% of potential value, bringing in a total of $102.7 million, falling within estimates of $86.7-125.2 million. Highlights include two late Picasso paintings and a Giacometti sculpture, in contrast to the pricey Picasso and Giacometti works offered by Sotheby’s which failed to sell. Picasso’s ‘Mousquetaire aÌ€ la Pipe,’ offered by Madoff victim Jerome Fisher, was the highest selling lot at $14.6 million, falling between estimates of $12-18 million. Julian Schnabel sold his own Picasso, ‘Femme au Chapeau,’ to recover debts due to construction costs at his West Village townhouse. The painting sold for $7.7 million, just shy of its low estimate of $8 million. The Giacometti sculpture, ‘Buste de Diego (Stele III)’ sold for $7.7 million, surpassing its high estimate of $6.5 million.

Impressionist and Modern Art Evening Sale [Christie’s]
Picassos Sell at Christie’s Auction, After Faltering at Sotheby’s [NY Times]
Christie’s Bests Sotheby’s With $102.7 Million Sale [WSJ]
Works by Picasso and Giacometti Lead Christie’s Sale of Impressionist and Modern Art [Artdaily]
Madoff Victim Sells Picasso for $14.6 Million at Christie’s [Bloomberg]

(more…)

AO Auction Preview: Impressionist and Modern Art and Sotheby’s and Christie’s

Wednesday, May 6th, 2009


Pablo Picasso’s ‘Mousquetaire à la Pipe’ via Artnet, goes on sale at Christie’s with estimates between $12-18 million

Following mixed results at last night’s Impressionist and Modern Art Evening Sale at Sotheby’s, where two high profile works by Picasso and Giacometti failed to sell, auctions at Christie’s and Sotheby’s continue tomorrow.  C hristie’s Impressionist and Modern Art Evening Sale tonight features two late Picasso paintings, both with estimates between $12-18. One, ‘Mousquetaire à la Pipe,’ is offered by Madoff victim Jerome Fisher, co-founder of show company Nine West.  The other painting, ‘Femme au Chapeau,’ comes from the collection of artist Julian Schnabel. The auction sees 50 lots with estimates of $94.9–134.6 million.

Madoff Investor Puts Picasso ‘Musketeer’ on Sale at Christie’s [Bloomberg]
What a Difference a Year Makes [Artinfo]
Impressionist and Modern Art [Christie’s]
Bernie Swindle Is a Pablo Blow
[NYPost]

AO Auction Results: Picasso and Giacometti fail to sell at Sotheby’s Impressionist and Modern Art Evening Sale

Wednesday, May 6th, 2009


Picasso’s ‘La Fille de l’Artiste a Deux Ans et Demi Avec un Bateau’ via AP. Failed to reach its reserve, attracting one bid at $12.25 million, falling short of the $16-24 million estimate.

Hours after Standard and Poor’s downgraded Sotheby’s credit rating to junk status, citing the depressed art market, the auction house’s spring Impressionist and Modern Art Evening Sale got underway last night in New York, yielding mixed results. The auction brought in $61,370,500 against estimates of $81.5/1-8.8 million, and was 80.6% sold by lot. This year’s figure represents slightly more than a quarter of last year’s sale, which realized $208.63 million. The auction’s highest priced lots, Picasso’s ‘La Fille de l’Artiste a Deux Ans et Demi Avec un Bateau,’ put up by a victim of the Madoff Ponzi scheme, and a rare Giacometti sculpture, ‘Le Chat,’ both failed to sell.  For both pieces, the $16-24 million reserve was cited as overreaching in an uncertain market.

However, the auction did have its highlights.  A 1934 painting by Piet Mondrian, ‘Composition in Black and White, with Double Lines,’ nearly doubled its high estimate of $5 million, selling to an anonymous caller for $9,266,500 after extensive bidding.  Four paintings by Polish Art Deco artist Tamara de Lempicka, from the collection of German fashion designer Wolfgang Joop, sold for a total of $13.8 million. ‘Portrait de Marjorie Ferry’ sold for $4.9 million, a new record for the artist.

Sale of Impressionist and Modern Art Totals $61,370,500, Picasso and Giacometti Go Unsold [Artdaily]
Modern Masters Suffer at Auction
[NYtimes]
Sotheby’s $61.3 Million Sale Disappoints; Picasso Goes Unsold [Wall Street Journal]
Top Lots Flop at Sotheby’s Imp/Mod Sale [Artinfo]
Sotheby’s Impressionist Sale Hits 7-Year Low as Picasso Flops [Bloomberg]
$80 Million? Try a Tenth of That. Art’s New Numbers. [NY Times]
What a Difference a Year Makes [Artinfo]

(more…)

Armory Arts Week is on, March 4-8, 2009

Wednesday, March 4th, 2009


–>
Gary Simmons, “Untitled (Sabatini)” (2009) via ARTINFO

Armory Arts Week is on, running March 4th (press preview) through Sunday the 8th on Piers 92 & 94 (Twelfth Avenue at 55th Street). One of the world’s leading art fairs devoted exclusively to contemporary art since its introduction in 1999, The Armory Show – The International Fair of New Art (on Pier 94) is the main draw inviting visitors to both purchase and immerse themselves in the art of our times. Concurrently, The Armory Show – Modern (on Pier 92) is a new section dedicated to international dealers specializing in historically significant Modern and contemporary art.

In addition to the shows, an array of extended exhibitions and special programs are available to the public, as well as panel discussions, guided tours, open studios, visits to collectors’ homes, performances, and separate receptions hosted by a variety of cultural officials.

This year, Armory Week extends beyond the piers with Volta NY, an invitational show for emerging artists, as well as Satellite Fairs, including Pulse, Red Dot, Scope New York, the Bridge Art Fair, and the Art Now Fair.

For a map of Armory Week, click here.

Opening Hours:
–>
Thursday, March 5 – Saturday, March 7 Noon to 8 pm
–>
Sunday, March 8 Noon to 7 pm

News links:
–>
Armory art fair draws interest despite recession [Crain’s New York Business]
–>
Editor’s Picks: Armory Show Preview [ARTINFO]
–>
The AFC Guide to Art Fair Week Events [Art Fag City]
–>
‘Meat Head’ Bronze at $250,000 Highlights Armory Show in N.Y. [Bloomberg]
–>
Interview with Featured Artist: Machiko Edmondson [Art Comments]

In action to recover for damage to printing machinery while on high seas between England and United States under nonnegotiable or “straight” bill of lading, English Court of Appeal (Civil Division) applies English law and determines that such bill came within U. K’s Carriage of Goods by Sea Act of 1971.

International Law Update June 1, 2003 On August 25, 1924, the maritime nations meeting in Brussels agreed upon the International Convention for the Unification of Certain Rules of Law relating to Bills of Lading for the Carriage of Goods by Sea [51 Stat. 233; T.S. 931; 2 Bevans 430; 120 L.N.T.S. 155]. The parties intended it to regulate the minimum terms to govern international shipping contracts for carrying goods.

With some amendments, the Convention arose out of a set of standard rules negotiated at The Hague in 1922 for inclusion into bills of lading by contract. Coming to be called “the Hague Rules,” they applied only to contracts of carriage “covered by a bill of lading or any similar document of title.” Almost 80 years later, the import of that phrase remains surprisingly controversial.

“The effect of a negotiable bill of lading has been famously described by Bowen L.J. in Sanders v. Maclean (1883) 11 Q.B.D. 327 at 341 in this passage: ‘A cargo at sea while in the hands of the carrier is necessarily incapable of physical delivery. During this period of transit and voyage, the bill of lading by the law merchant is universally recognised as its symbol; and the indorsement and delivery of the bill of lading operates as a symbolical delivery of the cargo.” “Property in the goods passes by such indorsement and delivery of the bill of lading, whenever it is the intention of the parties that the property should pass, just as under similar circumstances the property would pass by an actual delivery of the goods … It is a key which in the hands of a rightful owner is intended to unlock the door of the warehouse, floating or fixed, in which the goods may chance to be.'” [ 1] In the present case, the shipper, Coniston International Machinery Ltd., of Liverpool (Coniston), consigned four containers of printing machinery to the claimant, J. I. MacWilliam Company Inc., of Boston, Massachusetts (MacWilliam). Vessels owned by, or demise chartered to, the defendant, Mediterranean Shipping Co. S.A., of Geneva (MSC), were to transport the machinery. The bill of lading issued by the defendant MSC to Coniston at Durban in December 1989 named MacWilliam as the consignee and declared that the bill was non-negotiable. That is, it was a “straight” bill of lading, so that delivery of the goods (rather than a mere endorsement of the bill) was usually required to transfer the goods. go to site bill of lading

One of defendant’s vessels, The Rosemary, carried the goods uneventfully from Durban, South Africa to Felixstowe, England. There they were discharged and later reshipped to their final destination in the United States aboard defendant’s vessel, The Rafaela S. En route across the Atlantic, however, the machinery was badly damaged and MacWilliam filed arbitration proceedings in England.

At arbitration, the issue arose as to whether the U. K.’s Carriage of Goods By Sea Act of 1971 (1971 Act) applied or its U.S. counterpart. By Section 1(3), the 1971 Act has the force of law “where the port of shipment is a port in the United Kingdom.” This led to the question of whether one contract of carriage or two governed the shipment from South Africa to Boston. If the 1971 Act did apply, then Section 1(4) (derived from art I(b) of the Hague Rules) had to be satisfied. It declares that the contract had to “expressly or by implication [provide] for the issue of a bill of lading or any similar document of title.” This led to the further question as to whether a “straight” bill of lading constituted a “bill of lading or any similar document of title” under the 1971 Act. The arbitrators held that a single contract of carriage governed the shipment and that, in any event, a straight bill of lading was not a “bill of lading” under the Act.

With leave, the claimant next appealed to the Commercial Court. There the judge concluded, contrary to the arbitrators, that there had been two separate contracts. On the other hand, the judge did uphold the arbitrators’ ruling that a straight bill was not a statutory “bill of lading,” and dismissed the appeal.

The claimant then appealed, urging that a straight bill of lading qualified as a “bill of lading” within Section 1(4) of the 1971 Act, and also within Article I(b) of the Hague Rules. The English Court of Appeal (Civil Division) allows the appeal and reverses the Commercial Court.

The Court first outlines the issues presented. “The business issue between the parties is whether the contract of carriage contained in or evidenced by the bill of lading prescribed a package limitation under the Hague Rules, the Hague-Visby Rules, or the U.S. Carriage of Goods by Sea Act of 1936 (USCOGSA).

The Hague-Visby Rules are an amended version of the Hague Rules, introduced by the Protocol signed at Brussels on 23 February 1968. It contains a more liberal package limitation. On the other hand, USCOGSA reflects the earlier limitation regime of the Hague Rules and would limit any recovery to US$500 per package.

Secondly, the appellate court decides whether the parties were acting under one shipping contract or two. “[The ‘through bill of lading’] clause, when read together with the relevant boxes on the front of the bill, does not provide for a single contract of carriage but for two separate contracts, one from Durban to Felixstowe and the other from Felixstowe to Boston.” “It may be true that MSC was entitled to arrange that second contract to be with itself, but that should not disguise the fact that such an arrangement must be viewed in exactly the same light as a new contract arranged through MSC’s agency with a different carrier. If the latter would be a separate contract with a separate port of shipment, then so must be the former arrangement.” “If it arranged on-carriage with itself, then there would be a single contract for a voyage from Durban to Boston, with transshipment at Felixstowe, and U.S. law and jurisdiction would apply under clause 2 and [the U.S.’s Carriage of Goods by Sea Act of 1936 (USCOGSA)] would apply under the penultimate sentence of clause 1.” “If on the other hand, MSC arranged on-carriage with another carrier, then the contract would only be for shipment from Durban to Felixstowe, not to the U.S., and London arbitration and English law would apply under clause 2, and there would be a port of shipment within the U.K. which, subject to the straight bill of lading issue, would also invoke the compulsory regime of the 1971 Act.” [ 21] In the Court of Appeal’s view, the contract that governed the carriage of the machinery from Durban to England was distinct from the agreement that controlled the shipment from England to the U.S. This means that there had been a “port of shipment” within England so that the lower court had correctly reasoned that the [English] Act applied.

Thirdly, the Court tackles the nature and effect of this hybrid bill of lading. It first holds that a straight bill of lading did constitute a “bill of lading” under the Hague Rules. These Rules dealt with the content of a carriage contract where the contract embodied in a bill of lading might turn out to affect the rights of a third party.

“It seems to me to be plain as a matter of common-sense but also on a review of the material cited in this judgment, that, in this connection, a named consignee under a straight bill of lading, unless he is the same person as the shipper, is as much a third party as a named consignee under a classic bill.” [ 136] In practical usage, the Court notes, the straight bill serves (like a “classic” bill) as a document against which payment was demanded and the transfer of which brought about a transfer of property interests in the cargo. The shipper, along with his bankers and insurers, desire the same protection as the shipper has under a classic bill.” “In addition the consignee itself and its insurers needed to have rights against the carrier in case of misadventure. The parties typically write the straight bill on the same form as an otherwise classic bill and mandate production of the bill on delivery of the goods. Moreover, a straight bill is in principle, function and form quite a bit closer to a classic negotiable bill than to a non-negotiable receipt. Article VI of the Rules seems to look upon the latter as “something far more exotic.” [ 139] A straight bill of lading also constitutes a document of title since it has to be produced in order to perfect delivery. Even without express language that requires production of a particular straight bill to obtain delivery, it is in principle a document of title. in our site bill of lading

“Whatever the history of the phrase in English common or statutory law may be, I see no reason why a document which has to be produced to obtain possession of the goods should not be regarded, in an international convention, as a document of title. It is so regarded by the courts of France, Holland and Singapore.” [ 143] As a final note, the lead opinion voices a complaint. “It seems to me that the use of these hybrid forms of bill of lading is an unfortunate development and has spawned litigation in recent years in an area which, for the previous century or so, has not caused any real difficulty. Carriers should not use bill of lading forms if what they want to invite shippers to do is to enter into sea waybill type contracts.” “It may be true that ultimately it is up to shippers to ensure that the boxes in these hybrid forms are filled up in the way that best suits themselves; but in practice I suspect that serendipity often prevails. In any event, these forms invite error and litigation, which is best avoided by a simple rule.” [ 146] Citation: J. I. MacWilliam, Co., Inc. v. Mediterranean Shipping Co., S.A., “The Rafaela S,” [2003] E.W.C.A. Civ. 556, [2003] All E.R. (D) 289 ( April 16) (Approved judgment).

Newslinks for Wednesday, March 4, 2009

Wednesday, March 4th, 2009


Damien Hirst’s skateboard decks for Supreme, via The Hundreds

Damien Hirst launches a new line of skate decks for Supreme [Hypebeast] plus a Glenn Brown interview with Supreme [Interview]
Turner prize winning British artist Steve McQueen debuts Hunger.
[W Magazine via C-Monster]


John Baldessari at Mies van der Rohe’s Haus Lange of 1928, in Krefeld, Germany, via Edward Lifson

John Baldessari transforms a Mies van der Rohe house [Edward Lifson]
Metropolitan Opera puts up two Chagalls as collateral for loan in the face of a shrunken endowment
[Crain’s]
Art In America launches its new website
[Art Fag City]


A model of Jeff Koons’s ‘Train’ to be built at Los Angeles County Museum of Art, via LACMA

LACMA moves forward with record $25 million sculpture by Jeff Koons [The Art Newspaper]
Gold Bars for a Chris Burden show at Gagosian held up in Stanford fraud case [Culture Monster]
A negative forecast for the recession’s impact on art [NewYorkMagazine]


Banksy in London, via Wooster Collective

New Banksy works appear in London [Wooster Collective]
A profile of the Guggenheim’s Richard Armstrong, a modest museum head compared to his controversial predecessor
[Wall Street Journal]


KAWS’s cover for the current issue of New York, via SuperTouch

KAWS designs New York Magazine’s cover for their ‘Best of New York 2009’ issue [SuperTouch]
Jackie Wullschlager looks at the exhibitions that have come about after Anthony d’Offay’s gift of his collection to Britain
[Financial Times]


Gang Gang Dance, via The Social Registry

Armory Show preview and party at MoMA featuring a performance by Gang Gang Dance [MoMA]
A profile of art collecting Mugrabi family [NY Times]
Second ever newspaper interview of Charles Saatchi
[London Times]


Jake and Dinos Chapman’s remade ‘Hell’ via The Guardian

Jonathan Jones on why the Chapman Brothers’ Hell deserves to be shown at the National Gallery [Guardian]
Munich gallery Andreas Grimm shutters NY location [Hintmag]
SANAA, architects of the New Museum, to design Serpentine Pavilion [Icon]


A rug made by Francis Bacon, via London Times

Rediscovered Francis Bacon rugs are up for auction at a relative pittance versus his canvases [London Times]
Alex Katz models for J. Crew [MediaBistro]
A trend of wealthy collectors building museums to open their collections to the public [Fortune]

AO Auction Results: Christie’s Post-War & Contemporary Art Evening Sale, London. Results were overall dissapointing, Bacon, Rothko go unsold

Friday, February 13th, 2009


Monkeys (Ladder) (2003) by Jeff Koons. Sold for £1.38 million ($2 million) against estimates of £1.4 million to £2 million.

Following last week’s encouraging results, Christie’s post-war and contemporary auctions could only be described as lacklustre, while not entirely disheartening.

The auction realized a total of £8,392,750, or $12,085,560, with 79% of lots being sold. While still somewhat robust, it pales in comparison to last week’s figures which tended to be in the 90% range. 48% of the 29 lots were sold above their estimates, with one work of auctioned for over £1 million. European buyers put in a strong showing, comprising 66% of auction participants, with the remainder breaking down as follows: 4% UK, 27% Americas and 4% Asia.

Jeff Koons’ playful Monkeys (Ladder) was the highest priced lot, pulling in £1.38 million ($2 million) against estimates of  £1.4 million to  £2 million–just barely falling short of the lower estimate.  The oil on canvas piece forms a part of the artist’s Popeye series, and was offered for auction for the first time during the evening sale.

Two of the highest profile lots on auction failed to sell. A lot by Francis Bacon, Man in Blue IV, went unsold–considered by the auction house and several dealers who were present as “perhaps too academic.” The sitter is an unknown man who Bacon is thought to have had an affair with at the Imperial Hotel in Henley-upon-Thames, where the painter resided for some time.  His features are obscured and more attention is given to his clothing, posture and form. The  lot was expected to sell for between £4 million and £6 million, which would have made it the priciest lot on sale.

Mark Rothko’s lot also went unsold. Green, Blue, Green on Blue, from 1968, was expected to bring in between £2.5 million and £3.5 million, and would have been the second highest priced lot after Bacon’s.

Christie’s Sale Total Halves; $12.2 Million Rothko, Bacon Fail [Bloomberg]
Francis Bacon portrait fails to sell at auction [Telegraph UK]
Christie’s Auction of Post-War and Contemporary Art Realises $12.1 Million [ArtDaily]
The Golden Rain Dries Up at Christie’s [ArtInfo]

(more…)

AO Auction Results: Sotheby’s Contemporary Art evening sale, London, Thursday, February 5, 2009, Richter, Koons and Fontana lead robust results

Sunday, February 8th, 2009


Stacked (1988) by Jeff Koons; Sold for £2,841,250 ($4,136,939) against estimates of £2,200,000 - £3,200,000 ($3,215,434 – $4,676,995). Image via Artnet.

Sotheby’s contemporary art evening sale concluded this week’s auctions on a high note, as 25 of 27 lots by Lucio Fontana, Andy Warhol, Gerhard Richter, Jeff Koons and Damien Hirst, among others, were sold to collectors taking advantage of the art market’s price correction. The auction attracted relatively brisk bidding on several of the lots on offer, with over 200 clients registering to participate in the auction.

The sale realized a total of £17,879,250 ($25,785,250), solidly within the estimate of £16.5-23.1 million, selling 92.6% by lot–one of the highest ever achieved for a February contemporary art auction at Sotheby’s–and 90.7% by value. 24% of buyers were from the US, with 48% European, 12% Middle East, and 16% Asian being the breakdown for the remainder.

The lot featured on the catalogue cover, Concetto Spaziale by Lucio Fontana, was the highest priced lot, although it sold for £4.4 million ($6.4 million), or 12% below its £5 million ($7.3 million) low estimate. The painting is part of the 22-piece Venezia series, conceived and executed in 1961 by Fontana, widely considered to be Italy’s foremost post-war artist. While the lot was bought below the low estimate, it still set a record for a painting from the Venezia series. It was bought directly from the artist shortly after its execution and resided in a private collection for over 45 years, never shown in public during that period.

Successful auction sales calm jittery art market [Financial Times]
‘Rediscovered’ art fetches £4.4m [ BBC]
Koons, Fontana Works Sell in Smaller London Art Sale [Bloomberg]
A Svelte Sale Yields Positive Results at Sotheby’s [ArtInfo]
Sotheby’s February 2009 Contemporary Art Evening Sale Achieves $25,785,250 [Art Daily]

(more…)