Kate Moss: From The Collection of Gert Elfering

Kate Moss From The Collection of Gert Elfering
Christie's

newsfromchristies201110

Post-War & Contemporary auctions held in London, this October, by the three main auction houses, has showed that there is significant activity in this segment of the market when works of quality are presented with realistic estimates.

Christie's Post-War & Contemporary Art Evening and Day Sale auction, at King Street, in London, on October 14th and 15th, totaled £47,485,225 (US$71,936,715 - including premium). The evening auctions of Post-War & Contemporary Art Auction and The Italian Sale realised a combined total of £55,630,000 / $87,672,880 / €63,473,83, the second highest total for an October sale in London. Whereas the Post-War & Contemporary Art day auction totaled £9,414,875 / $14,837,843.

With three lots on the top ten prices of the Evening Sale, the German visual artist Gerhard Richter (b. 1932) confirmed another market principle: a good exhibition helps to sell an artist, but a major retrospective helps even further - Tate Modern had opened Gerhard Richter: Panorama the week before (from 6 October 2011 to 8 January 2012). The first two lots with the highest price at the evening auction were Kerze (Candle) (1982, Lot 10) and Abstraktes Bild (1992, Lot 23), both by Richter. The first piece, bought by an anonymous for £10,457,250 (US$16,480,626 / ) (estimate £6,000,000 - 9,000,000) established a world record prices for the artist at auction; the second work achieved £3,625,250 (US$5,713,394 / €4,136,410) (estimate £3,500,000 - 3,500,000); while Abstraktes Bild (1988, Lot 1) went to a private European collector for £1,026,850 (US$1,618,316 / €1,171,636) (estimate £500,000 - 700,000).Angel of the North, a life-size maquette made in 1996 became a world record price for Antony Gormley (b. 1950) at auction: £3,401,250 (US$5,360,370 / €3,880,826) (estimate £1,500,000 - 2,000,000); while Martin Kippenberger's (1953-1997), Untitled (1990), which was bought for £1,329,250 (US$2,094,898 / €1,516,674) (400% higher than the minimum price estimate £250,000), achieved a world auction record for a sculpture by the artist.

On the Day Sale the “auction produced solid results and saw strong prices for a broad and international range of living international artists, as highlighted by the top 10 prices of the sale", said Carolyn Hodler and Edward Tang (Co-Heads of the Sale). If there were anywhere but desert. Thursday, a work by Ugo Rondinone (1963), which the artists executed in 2000, was sold for £505,250 (estimate £250,000 - 350,000).

Christie's London :
Post-War & Contemporary Art (Sale 7990 and 7991), Oct. 14 and 15 2011. Auction Result £65,044,875 (with the Italian Sale)
Post-War & Contemporary Art (Sale 7914 and 7873), Oct. 14 and 15 2010. Auction Result £45,253,137 (with the Italian Sale)
Post-War & Contemporary Art (Sale 7758 and 7756), Oct. 16 and 17 2009. Auction Result £20,523,725 (with the Italian Sale)
Post-War & Contemporary Art (Sale 7617 and 7619), Oct. 19 and 21 2008. Auction Result £49,115,350 (with the Italian Sale)
Post-War & Contemporary Art (Sale 7425 and 7487), Oct. 14 and 16 2007. Auction Result £58,719,475 (with the Italian Sale)

newsfromchristies201110

Sally MANN (1951- )

Emmet, Jessie and Virginia _ Night-Blooming Cereus
1989 _ 1988

Sold for
US$15,000 _ US$22,500
Estimate
US$12,000-$18,000 _ US$15,000-$25,000

Christie's NY :
Photographs (Sale 2470), Oct. 6 2011. Auction Result US$4,811,625
Photographs (Sale 2395), Oct. 6 2010. Auction Result US$5,571,537
Photographs (Sale 2206), Oct. 8 2009. Auction Result US$2,664,225
Photographs (Sale 2106), Oct. 14 2008. Auction Result US$3,424,000
Photographs (Sale 1893), Oct. 18 2007. Auction Result US$6,532,825

Art market continuing recovery

The Post-War & Contemporary Art sale held last Wednesday, September 14th, by London Christie's, in South Kensington, achieve a final figure of £2,882,100 ($4,524,897/€3,317,297) for 176 lots (264 lots were on sale). "A considerable increase on the equivalent sale in September 2010, resulting in a record year for the category at Christie’s South Kensington saleroom - £6,221,400 for the two annual sales combined", said Darren Leak, Christie's Specialist and Head of Sale. Cildo Meireles (b. 1948), Jogo de Velha Serie C 8A (Tic-Tac-Toe Serie C 8A), 1997 (estimate £60,000-£80,000), achieved the second highest price for the artist at an auction. The installation composed by yellow wooden rulers arranged into nine squares on masonite went for £181,250 ($284,563/€208,619), for a South American private. Meireles' painted four X's in black and five O's in an identical yellow on each square. Like so many other pieces this is a political work, it «visually engages the viewer through the visual tension between the daubed markings and the details of the rulers ... The X's almost appear like targets and themes from his earlier political works are discernable. With the rulers one cannot help seeing the oppressive force in the need to measure and corral.» Jan Fabre (b. 1958), The Battle in the Hour Blue, 1989 (estimate £12,000-£18,000), was bought by an European trader for £169,250 ($265,723/€194,807), also the second highest price for the artist at an auction. The sales to be held during Frieze Art Fair, in London, next month, and the upcoming season in New York, in November, would clearly indicate if the art market for Post-War and Contemporary art is in a continuation of the recovery, since the 2009 crisis, or, instead, owners may hold off selling, with obvious impacts on auctions results and on the market liquid capacity.

On the previous day, at the Rockefeller Plaza (New York), Christie's held an auction dedicated to South Asian Modern & Contemporary Art , which was flooded by works by the recently deceased Maqbool Fida Husain (b. 1915, died in London on June 9). Twelve paintings and one watercolour by the Picasso of India counted for almost 60% ($4,222,750) of the final sales ($7,375,775), from over more than one hundred lots on sale. The artist dead clearly influenced the developments in, and the
competitiveness of, the art market towards his work.

newsfromchristies201102

Christie's Post-War and Contemporary Art evening auction confirmed strong demand for Andy Warhol artworks. Having been in a private collection since 1974, his rediscovered self-portrait, from 1967, was sold for £10.7 million ($17.4 million _ €12.8 million), against an estimate of £3 million to £5 million. When, in the previous evening, another work by the same artist was sold for £3 million at Sotheby's. However, the evening would also be remembered by six new artist records, for works by Jenny Saville, Martial Raysse, Miquel Barcelò, Wade Guyton, Ged Quinn and Adriana Varejão.

The auction presented a strong group of global artists from the 21st century. Leading highlights included Parede com Incisões a la Fontana II (Wall with Incisions a la Fontana II) (executed in 2001), an important masterpiece by Adriana Varejão (b. 1964), one of Brazil’s leading contemporary artists. It was sold for £1,105,250 _ $1,786,084 _ € 1,316,353 – far exceeding the estimate of £200,000 to £300,000 and setting a record for the artist’s work at auction. Whereas, Saville's (b. 1970) Branded (painted in 1992) was auctionned for £1,497,250, which was sold within its pre-sale estimate at £700,000-£1 million; L'année dernière à Capri (titre exotique) (Last Year in Capri (Exotic Title)) by Raysse (b. 1936) fetched £4 million (est. £1-£1.5 million); Tres equis (executed in 1990), a mixed media on canvas, by Barceló (b. 1957), an arresting images of the corrida, or bullfight, that was sold for £1,273,250 (announced at £400,000-£600,000)

«'The torero always talks of distance, of space, but these are invisible spaces, a sort of phantom geometry, and this is very close to painting with this idea of perspective... But the most important thing is what happens on the sand. In a bullfight, you can read what happened in the sand; it's a beautiful metaphor of painting because my paintings are like traces of what has happened there, all that happens in the head, in fact. The picture object is a bit like the sand of the arena, a sort of detritus of what took place there'» (Barceló, quoted in Miquel Barceló: Mapamundi, exh. cat., Saint-Paul, 2002, p. 98);

Guyton's (b. 1972) epson ultrachrome inkjet on linen Untitled (executed in 2005) was sold for £187,250 (against an estimate of £50,000-£70,000); and Quinn's (b. 1963), meticulously executed and beautifully rendered romantic landscape Gone to Yours (oil on linen, painted in 2005), which was bought for £193,250 (far exceeding its estimate £40,000-£60,000).

This evening auction realized £61,380,500 _ $99,190,888 _ €73,104,176 (against an pre-sale estimate of £35,860,000 to £51,760,000). This is the highest total for the Post-War and Contemporary art category, in London, since June 2008. Accordingly to Francis Outred, Head of Post-War and Contemporary Art, at Christie’s Europe, "this was a global auction that offered art from 5 continents, drew buyers from 21 countries and realized the highest total for the category in London since June 2008."

Auction data:
_ Sold by lot 92%
_ Sold by value 98%
_ Of the 63 lots offered, 58 sold (5 unsold)
_ 16 works sold for over £1 million, and 28 sold for over $1 million.

Top five lots sold:
_ Lot 11 Andy Warhol (1928-1987), Self-Portrait, 1967 for £10,793,250 _ $17,441,892 _ €12,854,761 (est. £3-€5 million) to an anonymous buyer.
_ Lot 14 Martial Raysse (b. 1936), L'année dernière à Capri (titre exotique), (Last Year in Capri (Exotic Title)), 1962 for £4,073,250 _ $6,582,372 _ €4,851,241 (est. £1-£1.5 million) to an anonymous buyer - ***World Record Price of a Work by a Living French Artist and World Record Price for the Artist at Auction***
_ Lot 8 Gerhard Richter (b. 1932), Abstraktes Bild, 1990 for £3,177,250 _ $5,134,436 _ €3,784,105 (est. £1-£1.5 million) to an anonymous buyer.
_ Lot 16 Jeff Koons (b. 1955), Winter Bears, 1988 for £2,953,250 _ $4,772,452 _ €3,517,321 (est. £2.5-£3.5 million) to an anonymous buyer.
_ Lot 19 Lucio Fontana (1899-1968), Concetto spaziale, 1961 for £2,729,250 _ $4,410,468 _ €3,250,537 (est. £2-£3 million) to an anonymous buyer.

newsfromchristies201102

Andy Warhol (1929-1987)
Self-Portrait, painted in 1967
with the Andy Warhol Art Authentication Board, Inc., stamp and numbered 'A102.103' (on the overlap)
Acrylic and silkscreen ink on canvas (182.9x182.9cm)

Hammer Price with Buyer's Premium £10,793,250 _ $17,441,892 _ €12,854,761 (Christie's London, February 16th 2011, Lot 11)
Estimate £3,000,000-£5,000,000
Lot sold to Anonymous

«'The Self-Portrait series of 1967, originally made for the American Pavilion (a huge geodesic dome designed by Buckminster Fuller) at Expo '67 in Montreal, constitutes the images by which Warhol is best known to the public. They came at the point in his career when he had the confidence to accept his status as star and celebrity, as their large, six-foot-by-six-foot scale confirms. They are Warhol's most archetypal projection - as iconic now as his portraits of Marilyn. Yet Warhol still insisted, for himself, on a certain obscurity. Posed with his fingers against the mouth (long a received symbol of contemplation), his face half hidden in shadow, it is Warhol as-observer par excellence: he sees us more clearly than we see him. The mottled paint accentuates the notion of the picture as an impenetrable surface. In their detachment, these 1967 self-portraits avoid direct, self-confident confrontation with the viewer' (K. McShine, 'Introduction', pp. 13-23, McShine (ed.), Andy Warhol: A Retrospective, exh. cat., New York, 1989, pp. 20-21) [...]

Provenance:
_ Property from an American Estate (acquired from the previous owner by the present owner in 1974).
_ Leo Castelli Gallery, New York.

newsfromchristies201102

Strong results in these last two evenings at Sotheby's and Christie's Impressionist and Modern Art auction's demonstrated a solid market for both classic impressionism and the masterpieces of the avant-garde.

A new auction record was achieved at Christie's Impressionist and Modern Art evening sale on yesterday's auction. Christie's realise £84,879,800 / US$136,316,959 / €99,903,525 (the sales had a pre-sale estimate of £72,580,000 to £107,060,000) of total revenue. Whereas last year sales total results - £76,834,650 - were on the same level as this year for the two auctions held on the same evening sale (The Art of the Surreal and Impressionist and Modern Art).

"Terrasse à Vernon by Pierre Bonnard (1867-1947), which realized £7,209,250 / $11,578,056 / €8,485,287", set a new world record price for the artist at auction and was the top price at the auction. "A masterclass in colourist painting executed in 1923, it was one of only 3 works that Bonnard selected to be exhibited at the Salon d’Automne that year where it was very well received. Acquired by the family of the vendor in 1935, it had since passed by descent and was offered at auction for the first time with a pre-sale estimate of £3 million to £4 million."

While at The Art of the Surreal evening sale, "Etude pour `Le miel est plus doux que le sang’", 1926-27, a landmark work and one of the first Surreal paintings executed by Salvador Dalí (1904-1989), realized £4,073,250 / $6,541,640 / €4,794,215", and set a new world record price for the artist at auction (estimate: £2 million to £3 million). Both works were bought by anonymous collectors.

Auction data:
_ Sold by lot 79%
_ Sold by value 84%
_ Of the 76 lots offered, 60 sold (16 unsold)
_ Over 93% of the sold lots last evening achieved prices at or above their estimate
_ 3 works sold for over £5 million, 23 sold for over £1 million

newsfromchristies201102

Paul Gauguin (1848-1903)
Nature morte à "L'Espérance", painted in Tahiti in 1901

Signed and dated Paul Gauguin 1901 (lower right)
Oil on canvas (66,2x76,2cm)
Estimate £7,000,000-£10,000,000 (US$11,291,000-US$16,130,000) (Lot 17)

«Nature morte à 'L'Espérance' is an historic picture painted in 1901, towards the end of Paul Gauguin's legendary stay in Tahiti. This picture has passed through the hands of a very prestigious array of prominent collectors including Gustave Fayet, one of the people who helped to found Gauguin's reputation and whose collection, including this picture, was shown at a retrospective dedicated to the artist at the 1906 Salon d'Automne, an exhibition that was to have a marked influence on many of the great pioneers of modern art including Henri Matisse and Pablo Picasso. Nature morte à 'L'Espérance' is one of four showing sunflowers which he painted that year, doubtless in part as a tribute to his friend and fellow artistic pioneer Vincent van Gogh, who had died just over a decade earlier. One of the other sunflower still life compositions, Fleurs de tournesol dans un fauteuil, is now in the State Hermitage Museum, St. Petersburg, and another similar composition is in the Fondation E.G. Bürhle, Zurich; a fourth in a private collection is the only vertical example of the group, and thus appears to be a more overt reference to Van Gogh. Nature morte à 'L'Espérance', which Françoise Cachin has described as perhaps the best of the group in her monograph (F. Cachin, Gauguin, trans. B. Ballard, Paris, 1990, p. 239), differs from the others in the inclusion of two artworks in the background, a reproduction of Puvis de Chavannes' L'Espérance from around 1872 (Musée d'Orsay, Paris) and Edgar Degas' print Le petit cabinet de toilette of 1879-80. Puvis de Chevannes' L'Espérance is a study for his major composition Allégorie de L'Espérance (Walters Art Museum, Baltimore) [...]

Provenance:
_ Property from a private european collection.
_ Acquired from the estate of the below by the present owner in 1996.
_ Joanne T. Cummings, Chicago, by descent from the below in 1985.
_ Nathan Cummings, Chicago, by whom acquired in 1956.
_ Robert Rutherford McCormick, Chicago, by 1930, and thence by descent to Mrs. Robert Rutherford McCormick.
_ Chester H. Johnson, Chicago.
_ Paul Rosenberg, Paris.
_ Gustave Fayet, Igny.

André Derain (1880-1954)
Bateaux à Collioure, painted in 1905
Signed a derain (lower left)
Oil on canvas (38,4x46cm)

Hammer Price with Buyer's Premium £5,865,250 US$9,419,592 €6,903,399 (Christie's London, February 9th 2011, Lot 16)
Estimate £4,000,000-£6,000,000 (US$6,452,000-US$9,678,000)
Lot sold to Anonymous

«Bateaux à Collioure is one of the pictures that André Derain painted during his historic stay in the French coastal town of the same name, where he had gone to join his fellow artist and friend, the older Henri Matisse. There, the two worked alongside each other, blazing the trail of the movement that would, in the Salon d'Automne that was held sometime after their return to Paris later that year, be dubbed the 'Fauves.' The wildness that lent the loosely-joined movement its name is clear in the bold, brightly blazing colours of Bateaux à Collioure, with the broad areas of red and yellow making up the foreground, the lapis flecks that convey some of the shimmering water and the boats, and the green of the sky. This painting perfectly embodies Derain's statement that, 'Fauvism was for us a trial by fire... The colours became sticks of dynamite. They had to explode into light' (Derain, quoted in N. Kalitina, André Derain, Leningrad, 1976, p. 9) [...]

Provenance:
_ Property from a private swiss collection.
_ Acquired by the present owner circa 1960.
_ Anonymous Sale, Galerie Charpentier, Paris, 17 June 1960.
_ Ambroise Vollard, Paris.

Georges Braque (1882-1963)
Nature morte à la guitare (rideaux rouge), painted in 1938
Signed and dated G. Braque 38 (lower left)
Oil and sand on canvas (81x100cm)

Hammer Price with Buyer's Premium £3,961,250 US$6,361,768 €4,662,391 (Christie's London, February 9th 2011, Lot 5)
Estimate £3,500,000-£5,500,000 (US$5,645,500-US$8,871,500)
Lot sold to Anonymous

«Painted in 1938, Nature morte à la guitare (rideaux rouge) dates from a crucial period when Georges Braque began to create elaborate still life and interior compositions that were filled with a new vitality, in part due to the more ambitious scale of the motifs depicted. In the case of Nature morte à la guitare (rideaux rouge), this is evident in the fact that the table - the guéridon, that icon of late Cubism - is viewed from a distance that incorporates the various elements, be it the fruit, the crockery, the musical instrument or indeed the curtains themselves within the view. Rather than showing a clutch of objects in close-up, this gives a richer sense of the fabric of the interior in Braque's own world, plunging the viewer into his universe [...]

Provenance:
_ Sold by the Art Institute of Chicago.
_ A gift from the below to The Art Institute of Chicago in 1959.
_ Mr and Mrs Albert D. Lasker, New York, by whom acquired from the below in January 1947.
_ Paul Rosenberg & Co., London and New York, by whom acquired directly from the artist in 1938.

Edgar Degas (1834-1917)
Danseuses jupes jaunes (Deux danseuses en jaune), executed circa 1896
Signed Degas (lower right)
Pastel and charcoal on joined paper (60,2x42,4cm)

Hammer Price with Buyer's Premium £5,417,250 US$8,700,104 €6,376,103 (Christie's London, February 9th 2011, Lot 9)
Estimate £3,000,000-£5,000,000 (US$4,839,000-US$8,065,000)
Lot sold to Anonymous

«Danseuses jupes jaunes (Deux danseuses en jaune) is a highly-finished pastel dating from circa 1896 which shows Edgar Degas' most favoured theme, the ballet, captured in the explosive palette that marked his works from this period. Here, two dancers are shown resting against the painted theatre backdrop, one adjusting the straps and facing us, the other facing away with her hands on her back, as though stretching. This is an informal glimpse of life behind the curtain, of a world of incredible athleticism, movement and action in a rare moment of repose and respite, yet that atmosphere of informality is belied by the incredible finish of the surface, which Degas has eked out not in a mere instant, capturing an intimate moment, but instead with an incredible build-up of often hatched strokes of pastel, creating his distinctive palimpsest-like accumulation of colour. This is especially visible in the areas of shadow, for instance at the dancers' feet [...]

Provenance:
_ Property of a private european collector.
_ Bruno and Paul Cassirer, Berlin (no. 173), by whom acquired from the below galeries on 27 April 1899, and thence by descent to the present owner.
_ Galeries Durand-Ruel, Paris (no. 3942), by whom acquired directly from the artist on 15 October 1896.

Pierre Bonnard (1867-1947)
Terrasse à Vernon, painted in 1923
Signed and dated BOnnard 23 (lower right)
Oil on canvas (120x105cm)

Hammer Price with Buyer's Premium £7,209,250 US$11,578,056 €8,485,287 (Christie's London, February 9th 2011, Lot 10)
Estimate £3,000,000-£4,000,000 (US$4,839,000-US$6,452,000)
Lot sold to Anonymous

***WORLD RECORD FOR THE ARTIST AT AUCTION***

«Painted in 1923, Terrasse à Vernon is a colourist masterclass, showing the view from Ma Roulotte, the Norman home of Pierre Bonnard. This picture, which was one of only three that Bonnard selected to be exhibited at the Salon d'Automne that year, and which was very well-received, is saturated with luscious greens, lapis and turquoise, while the ground has a sunny feel that is enhanced by the glimmer of light of the young woman watching the artist - or the viewer. The composition itself deliberately avoids classical perspective or a sense of over-central emphasis, to drag the viewer's attention, ensuring that our eye grazes across the entirety of the canvas, taking in the landscape as a whole while also enjoying such details as the blue and white stripes of the table-cloth, the red petals of the flowers or the landscape that stretches out in the background, or rather which reaches up the height of the canvas to the horizon, two thirds of the way to its top. This is a device that Bonnard used in many of his most accomplished landscapes, satisfying his innate passion for monumental canvases filled with colour - the legacy of his Nabi past [...]

Provenance:
_ Property of a private french collector.
_ M. Léon Delaroche, by whom acquired from the below galerie, by 1935, and thence by descent to the present owner.
_ Galerie d'Art Moderne, Lausanne.
_ Galerie Bernheim-Jeune, Paris, by whom acquired directly from the artist in 1923.

newsfrom...201101

«To coincide with its 40th anniversary, The Photographers’ Gallery, London will stage a Charity Auction at Christie’s South Kensington on Thursday 17 February 2011.

Corinne Day (1962-2010)
Tara, Wales, 1997 (image 4 of 7)
£1,200-1,800
$1,900-2,700
€1,400-2,000

Gift of the Estate of Corinne Day

«Designed to help raise the final funds to transform its Ramillies Street premises, the event will comprise a Live and Silent Auction, offering 70 lots. With estimates ranging from £600 to £10,000, this will be the perfect opportunity for collectors of photography to add to their collections, while supporting a new state-of-the-art photography gallery in London.

_

Artist' Impression of the redeveloped _ Rineke Dijkstra (1959)
Photographers' Gallery, _ Évora, Portugal, May 1, 1994 (image 7 of 20)
16 - 18 Ramillies St, London, W1 _ £7,000-10,000
© The Photographers' Gallery, London/ _ $11,000-14,000
CGI created by Maganglo Ltd. _ €7,900-10,000

_ From The Photographers' Gallery 1994 Print Circle

«There will also be a Silent Auction of more than 30 lots, with bidding available throughout the viewing period, enabling photography collectors at every level to show their support for The Photographers’ Gallery.

Sally Mann _ Richard Misrach
Untitled (Mississippi, 1998) _ Desert Fire No. 1, (Burning Palms)
2010 _ 1986


Gregory Crewdson _ Tom Hunter
Production Still (Trailer Park 05) 'Beneth the Roses' _ The Vale of Rest
2008 _ 2000

Os objectos do quotidiano contemporâneo

O sapato Marilyn, como metáfora da feminilidade.

Uma metáfora das expectativas e inclinações da feminilidade contemporânea: eis o sapato Marilyn. Esta e outras peças formadas por tachos e tampas em aço inox, às quais são atribuídos nomes de mulheres importantes na cultura popular. Carmen Miranda, por exemplo, é um dos nomes escolhidos por Joana Vasconcelos. As diferentes denominações contribuem para a multiplicidade de significados que as suas obras geram.

Ao explorar assuntos da esfera privada e pública, Joana Vasconcelos debate o papel tradicionalmente reservado à mulher. Conforme questiona, «as panelas são etnografia portuguesa? Não! Os talheres de plástico? Também não! São produtos culturais de uso corrente, são as formas conscientemente ignoradas do nosso quotidiano». E complementa ao afirmar que as suas peças «funcionam como uma ignição para questionar as nossas decisões e afirmações quotidianas.»

No universo artístico, uma das questões é o que a utilização de objectos do quotidiano pode dizer sobre o nosso tempo. Normalmente, esses objectos são usados para análise e estudo, quer pelos arqueólogos, sobre a história humana e através da análise de artefactos, quer pelos sociólogos, sobre o desenvolvimento, estrutura e funcionamento da sociedade humana.

Mas outra das questões é como avaliar quantitativamente uma peça de arte com menos de um ano de existência, quando ainda não teve o tempo necessário para ser inscrita no circuito de validação de obras de arte!

Concebido á menos de um ano, o sapato Marilyn, que está estimado entre 110 mil e 170 mil euros (£100 000-£150 000), é um dos 52 lotes à venda no leilão de arte contemporânea promovido pela casa Christie’s, de Londres, no dia 11 de Fevereiro.

Em Junho de 2009, a peça Coração Independente Dourado (2004) foi vendida em leilão também da Christie’s, por 129 mil euros.

Published at NS'213/IN#109, Mercado da Arte (68), (Diário de Notícias N.º 51439 e Jornal de Notícias N.º 250/122), 6 de Fevereiro de 2010. Portugal Joana Vasconcelos, Marilyn, 2009. Courtesy Christie's 2010