Auction Preview: Photographies, May 29, 2013 @Sotheby’s Paris

Sotheby’s Paris has a various owner photographs sale scheduled for next week, led by two sets of works from private collections, set off in colored pages in the printed catalog. Overall, there are a total of 221 lots on offer, with a Total High Estimate of €2399800.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including €7500): 103
Total Low Estimate (sum of high estimates of Low lots): €541800

Total Mid Lots (high estimate between €7500 and €35000): 111
Total Mid Estimate: €1488000

Total High Lots (high estimate above €35000): 7
Total High Estimate: €370000

The top lot by High estimate is lot 172, Helmut Newton, Naomi, Cap D’Antibes, 1998, estimated at €80000-120000 (image at right, top, via Sotheby’s.).

Here is a list of the photographers who are represented by three or more lots in the sale (with the number of lots in parentheses):

Helmut Newton (12)
Eugène Atget (8)
Herb Ritts (8)
Charles Clifford (6)
Laure Albin-Guillot (5)
Henri Cartier-Bresson (5)
Charles-Isidore Choiselat & Stanislas Ratel (5)
Horst P. Horst (4)
Man Ray (4)
Andres Serrano (4)
Albert Sands Southworth & Josiah Johnson Hawes (4)
William Eggleston (3)
Nan Goldin (3)
Hiroshi Sugimoto (3)

Other lots of interest include lot 29, Julia Margaret Cameron, Beatrice, 1870, estimated at €8000-12000 (image at right, middle, via Sotheby’s) and lot 93, Hans  Bellmer, Poupee Reversible en Repos, 1936, estimated at €12000-15000 (image at right, bottom, via Sotheby’s)

The complete lot by lot catalog can be found here.

Photographies
May 29th

Sotheby’s
76, Rue Du Faubourg Saint-Honoré
75008 Paris

Auction Preview: Photographie, May 29, 2013 @Villa Grisebach

Villa Grisebach has its Spring various owner photographs sale in Berlin next week, with a diverse selection of lower priced vintage and contemporary material on offer, led by a dozen prints by Aenne Biermann. Overall, there are a total of 161 lots available, with a Total High Estimate of €654400.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including €7500): 141
Total Low Estimate (sum of high estimates of Low lots): €416400

Total Mid Lots (high estimate between €7500 and €35000): 20
Total Mid Estimate: €238000

Total High Lots (high estimate above €35000): 0
Total High Estimate: NA

The top lot by High estimate is lot 2086, Martin Munkacsi, Brasilien erstickt im Kaffee, 1932, estimated at €15000-20000 (image at right, top, via Villa Grisebach).

Here is the complete list of photographers with three or more lots in the sale (with the number of lots in parentheses):

Aenne Biermann (12)
Peter Lindbergh (6 )
Albert Renger-Patzsch (6)
Thomas Struth (5)
Berenice Abbott (3)
Ilse Bing (3)
Andreas Feininger (3)
Jacques-Henri Lartigue (3)
Saul Leiter (3)
Herbert Matter (3)
Tom Wood (3)

Other lots of interest include lot 2030, Erwin Blumenfeld, Solarized nude, 1943, estimated at €10000-12000 (image at right, middle, via Villa Grisebach) and lot 2143, Ulrike Rosenbach, Art is a criminal action II, 1969/2008, estimated at €10000-15000 (image at right, bottom, via Villa Grisebach).

The complete lot by lot catalog can be found here.

Photographie
May 29th

Villa Grisebach Auktionen
Fasanenstraße 25
D-10719 Berlin

Garrett Pruter, Interiors @Charles Bank

JTF (just the facts): A total of 25 photographic works, either framed in white and unmatted or unframed, and hung against white walls in the main gallery space and the entry area. 10 of the works (9 single images and 1 diptych) are unique photographic collages, ranging in size from 18×24 to 30×40 (or reverse). 9 of the works are paintings made from mixtures of photographic pigment, turpenoid, aluminum, and linseed oil on canvas, ranging in size from 40×30 to 72×60. 4 of the works are made from bleach applied to archival inkjet prints, each 30×40. And the show also includes 1 video, available in an edition of 3+1AP, and 1 graphite drawing, sized 31×45. All of the works were made in 2013. (Installation shots at right.)

Comments/Context: Garrett Pruter’s newest works use vernacular photography as a starting point for physical explorations of surface, color, and process, breaking down found images using a variety of gestural, hand-crafted methods. He brings fresh approaches to collage, bleaching, and ultimately to painting, iteratively deconstructing images of floral bouquets, cats, and birthday cakes until all that remains is a wash of diluted, residual pigment. It’s an exercise in repeated subtraction, beginning with something vaguely familiar and ending up somewhere entirely new.
Pruter’s approach to collage is the exact opposite of the usual dense agglomeration of layered images. It is instead an excising, a cutting away of central focal points. Tiny cut marks and edges shows us where a cat once sat, where a leg once draped over a purple couch, or where an amaryllis in a pot once stood. In each image, Pruter has multiplied the image, placing a misaligned copy of the original image underneath the cut out area, shifting it left or right to keep the continuity of the colors but to upend the visibility of what we’re supposed to be looking at. In other collages, he has matched his cutouts to the character of the imagery: a smear across a birthday cake or small dots that echo the baby’s breath in a flower arrangement. In these works, his see-through background is now shiny mylar, creating a silvery mirrored effect. In still others, the found imagery is jumbled together – the black cat from one collage has now become the surprise underneath the removed rose blooms in the bouquet of another. Seen together, the collages feel like a progression of experimental ideas.
Pruter’s investigation of erasure continues in both his bleached images and his video. Starting once again with found imagery, Pruter has painted bleach across the images in gestural washes, turning the outline of a house into ghostly white emptiness. Like Curtis Mann, he is using the whiteness to obscure and remove, leaving behind clues and faded memories. The floral bouquet is repeatedly dissected, leaving a splatter of bleach spotted flowers or just a single red bloom amid the white spots of the baby’s breath. The video explores similar territory, but with much more deliberateness. At first glance, the video looks to be a still image of the same rose bouquet, and after a minute or two of nothing happening, I gave up and moved on. When I circled back, one of the blooms had disappeared, and again later, another vanished. Slowly and carefully, all of the blooms were removed, Pruter’s methodical process of reduction spread out over time.
The most surprising works in the show are Pruter’s abstract “paintings”, where his disassembly of the found imagery is taken to its ultimate limit. Gathering up all the scraps and leftover bits from his collages, he has mixed the fragments in with solvent and oil, dissolving them into a slurry of photographic pigment which he has then smeared and spread in vertical swaths across canvas. From afar, the results run the gamut from soft pastel pink to reddish brown. Up close, the works are often dotted with tiny flecks of multicolored emulsion, sometimes thin and transparent like cherry skins, other times more congealed and coagulated like dried syrup. I liked both their textural drips and the underlying conceptual idea of the photographs reduced to their elemental chemical colors.
In general, I think Pruter’s line of thinking is intriguing. He has opted to explore the boundaries of photography via reduction and removal, playing both with representational recognition and process-driven abstraction. In an age of adding, tuning, and manipulating, I was reminded that taking away can be just as powerful and innovative.
Collector’s POV: The works in this show are priced as follows. The collages range from $1000 to $2400 based on size. The paintings range from $2800 to $8000, again based on size. The bleached prints are $2400 each, the graphite drawing is $2400, and the video is $2000. Pruter’s work has not yet reached the secondary markets, so gallery retail is the still the best/only option for those collectors interested in following up.

Auction Results: Contemporary Art Evening and Day Sales, May 16 and 17, 2013 @Phillips New York

The photography buried in Phillips’ two Contemporary Art sales last week provided ample proof that if the available works are well edited and the Buy-In rate can be kept low, the overall results are usually plenty successful. In this case, less than 9% of the photographs on offer failed to find buyers, driving the Total Sale Proceeds over the top of aggregate pre-sale high estimate.

The summary statistics are below (all results include the buyer’s premium):

Total Lots: 34
Pre Sale Low Total Estimate: $2680000
Pre Sale High Total Estimate: $3980000
Total Lots Sold: 31
Total Lots Bought In: 3
Buy In %: 8.82%
Total Sale Proceeds: $4073250

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 0
Low Sold: NA
Low Bought In: NA
Buy In %: NA
Total Low Estimate: $0
Total Low Sold: NA

Mid Total Lots: 19
Mid Sold: 18
Mid Bought In: 1
Buy In %: 5.26%
Total Mid Estimate: $480000
Total Mid Sold: $568750

High Total Lots: 15
High Sold: 13
High Bought In: 2
Buy In %: 13.33%
Total High Estimate: $3500000
Total High Sold: $3504500

The top photography lot by High estimate was lot 7, Andreas Gursky, Rhein, 1996, estimated at $1000000-1500000; it was also the top outcome of the sales at 1925000

82.35% of the lots that sold had proceeds in or above the estimate range, and there were a total of 3 surprises in the sale (defined as having proceeds of at least double the high estimate):

Lot 194, Andreas Gursky, Untitled 1 (Carpet), 1993, estimated at $60000-80000, sold at $173000 (image at right, top, via Phillips)
Lot 210, Vik Muniz, Valentine, The Fastest from The Sugar Children, 1996, estimated at $20000-25000, sold at $81250 (image at right, middle, via Phillips)
Lot 252, Ruud van Empel, World #16, 2006, estimated at $12000-18000, sold at $43750 (image at right, bottom, via Phillips)

Complete lot by lot results can be found here (Evening) and here (Day).

Phillips
450 Park Avenue
New York, NY 10022

Auction Results: Post-War and Contemporary Art Evening, Morning, and Afternoon Sales, May 15 and 16, 2013 @Christie’s New York

While Christie’s was busy setting auction records and selling nearly half a billion dollars worth of Contemporary Art in the evening sale alone last week, the photography buried in its three sales didn’t offer any particular lightning strikes or frothy exuberance. Of the just under $600 million in sales across the three sessions, a little less than $6.5 million came from photography, or a fraction more than 1% of the total proceeds. From the vantage point of the photography on offer, the overall Buy-In rate was just under 30% and the Total Sale Proceeds fell in the middle of the range, a generally predictable result all things considered.

The summary statistics are below (all results include the buyer’s premium):

Total Lots: 57
Pre Sale Low Total Estimate: $5178000
Pre Sale High Total Estimate: $7340000
Total Lots Sold: 40
Total Lots Bought In: 17
Buy In %: 29.82%
Total Sale Proceeds: $6440750

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 0
Low Sold: NA
Low Bought In: NA
Buy In %: NA
Total Low Estimate: $0
Total Low Sold: NA

Mid Total Lots: 28
Mid Sold: 20
Mid Bought In: 8
Buy In %: 28.57%
Total Mid Estimate: $900000
Total Mid Sold: $730000

High Total Lots: 29
High Sold: 20
High Bought In: 9
Buy In %: 31.03%
Total High Estimate: $6440000
Total High Sold: $5710750

The top photography lot by High estimate was lot 3, Andreas Gursky, Klitschko, 1999, estimated at $800000-1000000; it was also the top outcome of the sales at $1323750.

90.00% of the lots that sold had proceeds in or above the estimate range and there were a total of only two surprises (defined as having proceeds of at least double the high estimate):

Lot 424, Rodney Graham, Can of Worms, 2000, estimated at $15000-20000, sold at $47500 (image at right, bottom, via Christie’s)
Lot 487, Cindy Sherman, Untitled Film Still #54, 1980, estimated at $250000-350000, sold at $723750 (image at right, top, via Christie’s)

Complete lot by lot results can be found here (Evening), here (Morning), and here (Afternoon).

Christie’s
20 Rockefeller Plaza
New York, NY 10020

Wolfgang Tillmans, from Neue Welt @Andrea Rosen

JTF (just the facts): A total of 25 large scale color photographs, variously framed and displayed, and hung against white walls in the main gallery space, the connecting hallway, the back gallery, and the office area. Most of the works are inkjet prints on paper, some mounted on aluminum and framed in white, others unframed and clipped directly to the wall. These prints range in size from roughly 31×25 to 95×63 (or reverse) and are available in editions of 3+1AP or 1+1AP depending on size. 3 of the works are c-prints mounted on dibond and framed in white; they are each sized 93×71 (or reverse) and are available in editions of 1+1AP. The exhibit also includes a grid of 128 offset prints. All of the works were made between 2009 and 2012. Monographs of Neue Welt and Fruit Logistica were recently published by Taschen (here) and Walther König (here). (Installation shots at right.)

Comments/Context: In his most recent work, Wolfgang Tillmans has set himself an audacious goal – to capture the astonishingly diverse spirit of our sprawling, global, hyper-connected, 21st century world. Bouncing from continent to continent over the past few years, he has made pictures in countless locations, from Jeddah to Buenos Aires, Shanghai to Addis Ababa, and Los Angeles to Munuwata, selecting moments that have the first glance look of random snapshots, but soon coalesce into a deeper set of underlying patterns and rhythms. In his hands, our complex world resolves itself into set of contradictions, finding an uneasy balance between confusingly interwoven and juxtaposed realities.

Tillmans has always thought deeply about editing and image sequencing, and this exhibit is no exception. It moves back and forth with directed purpose, mixing emblems of old and new in a point-counterpoint dialogue, the visual conversation interrupted occasionally by an elegant abstraction to turn the viewer back inward for just a moment. The broadness of the starry night sky over Kilimanjaro is matched by computerized laser astronomy tools, improvised markets of crouching women and outstretched tarps are offset by the perfect displays at a futuristic food tradeshow, and the natural, earthy growth of mushroom spores on a tree trunk is set against the sleek, engineered headlights of high tech cars at an auto show. His eye pushes us to see the simultaneity of disparity and difference all around us. The hopelessly poor streets of Addis Ababa clash with the shiny escalators of a Jeddah shopping mall, the soot encrusted roof of a Masai hut fights with the mundane sterility of a hotel room, and the timeless games on the nighttime streets of Shanghai disregard the modern metal buildings of Los Angeles. We are at once pushing forward with energy and innovation and dragged back to the roots of our existence.

Given the complexity of Tillmans’ overall argument, it might be reasonable to assume that the whole would be greater than the sum of the parts here, but there are more standout single images in this show than I can ever remember seeing in a Tillmans show. The car headlights are aggressively streamlined and technical, the fly perched on a mass of crab legs is bold and compositionally dense, and the water flowing out of a plastic pipe into the gutter is gracefully dirty. In this particular edit, his eye for color and detail is very strong, especially when he moves in close.

Trying to document the global zeitgeist is a perilous challenge, but Tillmans has found a way to represent the complexity of our age with remarkable coherence and legibility. His works capture both our lofty aspirations and our crude realities, without a sense of omniscient pretense or judgment. In these diverse photographs, he shows us all our glorious incongruity and discord, singling out its extremities with perceptive interest.

Collector’s POV: The works in this show are priced as follows. The inkjet prints range from $28000 to $68000 based on size, while the large c-prints from the Silver series are $90000 each. Tillmans’ work is generally available in the secondary markets, with a handful of images on offer in most auction seasons. Recent prices have generally ranged between $2000 and $90000.

 

 

Auction Previews: Photography and Contemporary Art, May 24, 2013 @Lempertz

Kunsthaus Lempertz has both a various owner Photography sale and a Contemporary Art sale this Friday in Cologne. The photo auction is headlined by a series of mushroom cloud images from the atomic bomb tests in the Bikini Islands in 1946, but together the two sales cover a wide range of styles and periods. Overall, there are a total of 227 lots of photography on offer, with a Total High Estimate of €556200.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including €7500): 214
Total Low Estimate (sum of high estimates of Low lots): €389200

Total Mid Lots (high estimate between €7500 and €35000): 13
Total Mid Estimate: €167000

Total High Lots (high estimate above €35000): 0
Total High Estimate: NA

The top lot by High estimate is tied between two lots: lot 22, Laszlo Moholy-Nagy, Portrait Ellen Frank, 1929, and lot 560, Thomas Ruff, Ohne Titel (B. Junger), 1985 (image at right, top, via Lempertz), both estimated at €20000-25000.

Here’s the list of photographers who are represented by three or more lots in the sales (with the number of lots in parentheses):

Joint Army Task Force One (12)
Thomas Struth (5)
Max Baur (4)
Bernd and Hilla Becher (4)
Gisele Freund (4)
Jörg Sasse (4)
Jan Saudek (4)
Ilse Bing (3)
Henri Cartier-Bresson (3)
William Klein (3)
Heinrich Kühn (3)
David LaChapelle (3)
Joel Meyerowitz (3)
Thomas Ruff (3)
Toni Schneiders (3)
Wolfgang Tillmans (3)
Weegee (3)

Other works of interest include lot 110, Jaroslav Rössler, Reflexionswinkel, 1960, estimated at €1500-2000 (image at right, middle, via Lempertz) and lot 196, Jörg Sasse, S-89-07-01. Giessen, 1989, estimated at €1200 (image at right, bottom, via Lempertz).

The complete lot by lot online catalogs can be found here (Photography) and here (Contemporary Art).

Photography
May 24th

Contemporary Art
May 24th

Kunsthaus Lempertz
Neumarkt 3
D-50667 Köln

Auction Preview: Photographs from the Teutloff Collection, May 24, 2013 @Lempertz

In addition to its usual various owner sale, Kunsthaus Lempertz has a single owner photography sale later this week in Cologne drawn from the collection of Dr. H.C. Lutz Teutloff. It’s a challenging, risk taking collection, the works connected by the common theme of the human body. The catalog is loosely divided into sections including nudes, tattooed bodies, religion, and various other portraits and collections of bodies, many closer to experimental than classic. Overall, there are a total of 99 lots of photography on offer, with a Total High Estimate of €436500.

Here’s the statistical breakdown:

Total Low Lots (high estimate up to and including €7500): 82
Total Low Estimate (sum of high estimates of Low lots): €232500

Total Mid Lots (high estimate between €7500 and €35000): 17
Total Mid Estimate: €204000

Total High Lots (high estimate above €35000): 0
Total High Estimate: NA

The top lot by High estimate is lot 313, Hendrik Kerstens, Bag, 2007, estimated at €15000-20000 (image at right, top, via Lempertz).

Here’s the list of photographers who are represented by two or more lots in the sale (with the number of lots in parentheses):

Robert Doisneau (3)
Jürgen Klauke (3)
Dieter Appelt (2)
Roger Ballen (2)
Christian Boltanski (2)
Lucien Clergue (2)
Nan Goldin (2)
Bill Henson (2)
Eikoh Hosoe (2)
Yousuf Karsh (2)
Robert Lebeck (2)
Stefan Moses (2)
Mario Cravo Neto (2)
Eva Schlegel (2)
Valie Export (2)

Other works of interest include lot 343, Jürgen Klauke, Toter Photograph, 1988, estimated at €14000-18000 (image at right, bottom, via Lempertz) and lot 366, Roger Ballen, Puppy Between Feet, 1999, estimated at €2000-3000 (image at right, middle, via Lempertz).

The complete lot by lot online catalog can be found here.

Photographs from the Teutloff Collection
May 24th

Kunsthaus Lempertz
Neumarkt 3
D-50667 Köln

Ori Gersht: Cells @CRG

JTF (just the facts): A total of 15 large scale color photographs and 1 video installation, framed in white and unmatted, and hung against white walls in the front, middle, and side galleries, with a curtained off viewing room in the back for the video. All of the photographs are c-prints mounted on dibond, made in 2013. Sizes range from 48×47 to 60×68 (or reverse) and all of the prints are available in editions of 8+2AP. The video is a three screen HD video projection with media players, made in 2012, also available in an edition of 8+2AP. (Installation shots at right.)

Comments/Context: Following up on his recent series of energetic exploding flowers, this show of new work finds Ori Gersht moving in several different directions simultaneously. It mixes almost scientific abstraction with more traditional images of the geometric space of bull pens, paired with a three channel video installation that traces the methodical preparations and movements of a Spanish bullfighter. Thematically, they all fit together into one interconnected impression, but individually, they are quite visually and emotionally distinct.

The best works in the show are the red circular abstractions made by adding drops of red blood to pools of white milk. Up close, the splashes of red are fascinatingly veined and organic, slowly turning from almost black in the center to filigrees of disappearing pink at the edges; they wave and stretch and dissolve with thick pulsating richness. When placed in the context of Jewish traditions and the prohibition against mixing these two, the works take on an overtly transgressive, almost creepy, tone. They’re stop motion Harold Edgerton meets taboo testing Andres Serrano, with compositional help from Ken Noland.

The second series of photographs on view documents the interior spaces of the empty holding pens at the bull ring. The rough wood doors are scarred and scraped and the white cells are muddied by hoof prints and dirty brushing flanks. The photographs are rigidly geometric, turning doorways into flat rectangles (almost like Sean Scully paintings) and cells into corner bisected triangles. They balance absent violence with aesthetic simplicity, the spaces steeped in their function even when quiet and empty. The video amplifies this meditative quality, following the matador as he slowly and deliberately dons his grandly embroidered costume, elegantly meets the bull in the dusty cloud of the ring, and then returns to undress with the same reverence and grace. Flanked by slow moving fragments of royal portrait paintings on the side screens, the video emphasizes the thoughtfulness of the ritual, and its measured, respectful application.

When seen in the company of these reverential views of bullfighting, the milk and blood abstractions seem even more profane and unexpected; they bring us back to the gore that is left out of Gersht’s gestural dance in the ring. In many ways, the cell pictures and matador video are a well matched supporting cast to drive home the surprising vulgarity of the abstract blood drops. Without their context, we might just see bright red swirling vortex circles, and miss the underlying ceremony of blood letting.

Collector’s POV: The prints in the show are priced at either $20000 (Love Me Love Me Not blood series) or $22000 (Cells series). Gersht’s work has only been intermittently available in the secondary markets in recent years. Prices for the few lots that have sold at auction have ranged between $3000 and $20000.

 

 

 

 

Auction Results: Contemporary Art, Evening and Day Sales, May 14 and 15, 2013 @Sotheby’s New York

When Andreas Gursky’s Rhein II sold for just over $4.3 million dollars in 2011, setting the record for the top price ever paid at auction for a photograph, the result created a flood of commentary in the popular press. Some writers took the approach of considering the sale of the Gursky as a signpost for the ever increasing value of contemporary photography in comparison to other types of contemporary art, while others opted for the snarkier “would you pay that kind of money for a boring river landscape?” kind of hatchet job. In both cases, there was plenty of hue and cry over a photograph garnering such astronomical sums and plenty of speculation about what it all might mean.

Last week, the Jeff Koons photograph shown above, The New Jeff Koons, from 1980, sold for $9405000 and hardly a peep was heard from either the photography press or the mainstream art media. For the record, the work is a Duratrans transparency displayed on a lightbox (the power cord is just visible in the lower left). Duratrans is a color transparency material developed by Kodak in the late 1970s that is generally used for backlit photographic signage, tradeshow booths, and TV studio displays. So apart from the technical hairsplitters who will want to consider the printing differences between this process and that used by Jeff Wall for his color transparencies, I think we are safe in calling this work a “photograph”, especially given the way the work is presented and Koons’ options in 1980 when he made the work. In an age when the definition of “photograph” has been extended in so many different ways, I don’t think I’m out on a limb in any way in including this particular image under the larger umbrella of the medium. So shouldn’t we be having an overheated debate about the merits of Koons’ early image, where it fits in his artistic development, where it belongs in the history of photographic portraiture, and whether its recent price is in any way correlated its overall importance? Didn’t we just more than double the top price ever paid for a photograph?

In the context of the photography buried in Sotheby’s pair of Contemporary Art sales last week, there’s nothing like a work estimated at $2.5-3.5M selling for $9.4M to pump up the results numbers. More generally, the overall Buy-In rate was up over 35% and there were hardly any positive surprises beyond the Koons, so while we might have predicted a less than stellar overall outcome, the astonishing success of the Koons drowns out any other statistical analysis we might normally make.

As usual, the summary statistics are below (all results include the buyer’s premium):

Total Photography Lots: 53
Pre Sale Low Total Estimate: $7086000
Pre Sale High Total Estimate: $10018000
Total Lots Sold: 33
Total Lots Bought In: 20
Buy In %: 37.74%
Total Sale Proceeds: $13291625

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 0
Low Sold: NA
Low Bought In: NA
Buy In %: NA
Total Low Estimate: $0
Total Low Sold: NA

Mid Total Lots: 22
Mid Sold: 15
Mid Bought In: 7
Buy In %: 31.82%
Total Mid Estimate: $618000
Total Mid Sold: $485000

High Total Lots: 31
High Sold: 18
High Bought In: 13
Buy In %: 41.94%
Total High Estimate: $9400000
Total High Sold: $12806625

The top photography lot by High estimate was lot 9, Jeff Koons, The New Jeff Koons, 1980, estimated at $2500000-3500000; it was also the top outcome of the sale at $9405000 (image at top, via Sotheby’s).

93.94% of the lots that sold had proceeds in or above their estimate. There were only two surprises in these sales (defined as having proceeds of at least double the high estimate):

Lot 9, Jeff Koons, The New Jeff Koons, 1980, estimated at $2500000-3500000, sold at $9405000
(image at right, top, via Sotheby’s)
Lot 604, Ashley Bickerton, The Expats, 2004, estimated at $30000-50000, sold at $100000 (image at right, bottom, via Sotheby’s)

Complete lot by lot results can be found here (Evening) and here (Day).

Sotheby’s
1334 York Avenue
New York, NY 10021

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