Posts Tagged ‘ocean drive’

BASK original works priced from under $2000.

BASK (Czech-American, b. 1970)

So Hood

Mixed Media with spray paint on wood.

38x 57

 

 

BASK (Czech-American, b. 1970)

Desire To Stay positive

Mixed Media with spray paint on wood

50x 60

 

 

BASK (Czech-American, b. 1970)

Hide and Seek

Mixed Media with spray paint on wood

20x 30

 

 

BASK (Czech-American, b. 1970)

Fun Box Frank

Acrylic, latex, spray paint on wood.

24x 24

 

 

 

BASK (Czech-American, b. 1970)

Metamorphosis

Mixed Media with spray paint on wood

20x 36

 

 

BASK (Czech-American, b. 1970)

Bask In Your Thoughtcrimes

Mixed Media with spray paint on wood

72x 48

 

 

OR… How about a commission from BASK?

A Happy Client: In his own words

BASK “A Protected Nest” mixed media on wood panel. 50″ x 36″ x 3″. SOLD. Private Collection, NYC

One of our clients just requested a specifically commissioned work from our resident artist BASK. He just recently received the work, and here was his response verbatim….

“Dear Reed,

Just went down to new place and opened up crate..

Totally jaw dropping..

Incredible colors and textures

Every time I look at it from different angle I see something new.

Funny how much the kids in the nest actually look like our Sascha and Leo and that robyn’s egg greenish color is what we are using as a palate for our bedroom.

Really beautiful piece in every sense.  Think it deserves it own wall in our living room.

Thank you so much for the kind prints as well.  That was very nice of you guys to include those.

Can’t wait until we move in then we will photo and send to you.  Hopefully before Thanksgiving.

Best

N”

 

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

 

Boban (Serbian, b. 1963)

“Renaissance Man”

Original, one-of-a-kind, Stainless Steel creation.

Approximate Dimensions: 6′ x 5′ x 3.5′

PRICE: SOLD

For years Chicago’s Lincoln Park was graced with master sculptor Boban’s public installation “Renaissance Man”, a proud and graceful creation of steel, confidently stepping forward from a perfect point of balance, ready to take on the challenges of a new becoming in the 21st century and beyond. This creation is another prime example of, and tribute to, the skill, vision, and unique style that is Boban, and that has brought so much energy to the world of contemporary sculpture. “Renaissance Man” has truly found his most tenuous, yet energetic, point of balance, as he faces the future with tireless determination and intensity of focus.


 

 

 

Boban (Serbian, b. 1963)

“Dancer in the Wind”

Original Stainless Steel Spoon Creation

One-of-a-kind

30” x 40” x 26”

 

ALSO:

Boban (Serbian, b. 1963)

“Power of Violin”

Nickel plated bronze edition of 25 (SOLD OUT)

54” x 62” x 23”

PRICE: On request

 

Price and availability can change without notice

 

BOBAN ILIC (Serbian, b. 1964)

Exhibitions –
-Various galleries in Europe (1986 – 1990).
-Toyamura International Sculpture Biennale 2001, Japan
-Makati shangrila –Grand art Gallery –Philippines , May 7, 2002
-International Artexpo New York 2002-2003.
- Lincoln Park art initiative – Chicago -2003
- Premiere Gallery & Alexandros Foundation- June 20th -2003
-MG Gallery 676 N Dearborn-Chicago- Permanent displays
- 100 + one man show’s in the period 1985-2004
Awards –
-First place for sculpture design at North Shore Art League 1992,Chicago IL
-Award of Excellence Port Clinton Art Festival 1998 (Best Art Work of the show)
-F Price (Best of the Show) Toyamura International Sculpture Biennale 2001
Sapporo, Japan
- Annual Sculpture Exibit “Linkoln Park Art Initiative 2003” First place.
Special Projects –
-Monument of Shaka Zulu figure for Oak Park Community displayed outside at the City of Chicago.
-Sculpture of Pegasus displayed outside on Montigo Bay, Jamaica.
-Complete Interior Design and Art at Palette’s Gallery, downtown Chicago.
-Sculpture commissioned by McDonalds Corporation displayed with McDonalds art collection.
-Sculptures for Mobile Oil Corporation displayed outside of headquarters, Texas.

Media Exposure
“Wild Chicago” on WTTW Ch 11, Chicago video show.
“What’s Working” program about Boban’s art on WTTW Ch 11.
“Good Morning America” on national television.
“ Starting Over” N.B.C. on national TV

 

Recently completed commission, “Homage to the Michael Jordan Monument” (2013, 54” x 36” x 18”- private collection, IN USA)

Are you a fan of the hottest artist working today, Mr. Brainwash? Yeah. We are too! We saw Banksy’s film “Exit Through the Giftshop” and that was enough for us! That is why we were honored to have been contacted about representing his original paintings to our clientele. We have a large group of fantastic originals available presently, but you have to inquire if you want to see them!

 

Contact us at:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

Arman (1928-2005)

L’âme de Vénus” (Mind of Venus)

Black glass and pure silver (DAUM Glassworks of Nancy, France)

Base in Bronze (Bocquel Foundry)

Numbered AP #3/4

Edition of 8 plus 4 proofs

solid silver and black Daum crystal glass full length standing figure, of typical sliced composition, raised on integral silver and further bronze rectangular section base, etched signature to the base of the glass Arman Daum France HC4, h.74cm (29″)
Footnote; This particular goddess is the conclusion of the trilogy of the Daum’s Venus, Symbol of Beauty and Love. Produced in an edition of eight plus four artist proof, this one 3/4 artist proof. One example of “L’Ame de Venus” sold at a Paris auction for a price of $215,000 [Massol, Paris. June 1, 2007- Lot 107] (Another example also was sold in New York’s Madison Avenue in February 2007 for $235,000. USD.) It is accompanied by the original certificate of authenticity from DAUM glassworks.

PRICE: On request to reed@robinrile.com

CONTACT:

Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

by Reed V.Horth for CBPMag.com and Robin Rile Fine Art

I have a fantasy about money:

I’m walking down the street and I hear somebody say in a whisper

‘there goes the richest person in the world’” ~Andy Warhol

 

 


The building is not at all what I expected. Perhaps I did not know precisely what to expect. One side of my brain expected a multi- colored eyesore that city commissions would have surely been bribed to accept. The other side of my brain had not actually formulated a concept. But as our little white rental car rounded the top of the Warhol Bridge spanning the Allegheny River I was not quite prepared for the austere building which occupied the corner of East General Robinson Street and Sandusky Street; A building which, despite the mid-1950’s governmental exterior, housed The Andy Warhol Museum.  As we approached, it perhaps came as a surprise to find that my thoughts gravitated to the Texas School Book Depository in Dallas (the building from which Lee Harvey Oswald shot John F. Kennedy in 1963) which we had visited only a few months prior to our sojourn to Pittsburgh’s most famous museum.

 

Perhaps it is fitting…. Warhol always had a thing for Kennedy.



 

I like to think that the unique duality would have amused Warhol as much as the perceived connection to Kennedy amused me. After all, Warhol was known for turning convention on its ear, portraying tragedy in Technicolor and having a very real knowledge of what being shot is like. Further, Warhol and Kennedy both stood out as very singularly romanticized icons in an era of icons, perhaps some of the most enduring of the 20th Century.

 

While most of us think of Warhol as glitzy New York, he was in reality, a Czech Steel Town graphic designer from Pittsburgh. He made no secret of his aversion to the city of his birth, preferring New York’s bustling business people and freedom of artistic expression over blue collar, callused hands and sports teams that hallmark much of Pennsylvania. It might also be true that New York might garner more visitors numerically, but part of the charm of the Warhol Museum being in Pittsburgh was walking the halls nearly unmolested by the throngs that typically clatter through New York museums. Further, the highly successful efforts to re-brand Pittsburgh as an arts center is part of a multi-year project by city leaders to revitalize the downtown districts. With support of families with names like Carnegie, Heinz and Hillman, the Warhol Foundation has arguably had the most influence on the artist’s stature and pricing than any other single entity. This is due, at least in part, to the fact that the Warhol Museum collection consists mostly of work completed prior to his being shot by crazed feminist “Factory Girl” Valerie Solanas in 1968. Warhol’s work post his near-death experience is a dramatic departure from his previous output. In some sense, the old Warhol figuratively died that day and was replaced by a graphic designer who would paint nearly anything asked of him.

 

When the museum opened its doors in 1994, Warhol was a largely undervalued and only moderately appreciated artist whose presence in museums of modern art was apparent, but not significant. He was still considered to be little more than a glorified designer. Intervening years have allowed Warhol to become a beacon of all things “Art”. Museums started snatching up significant but relatively inexpensive works from the Warhol Foundation who were using the nearly $30M raised from the sale of estate works to sort out legal wrangling which took place just after the artist’s passing in 1987. This influx of major works into the market and museum-scene, along with simultaneous donations of major pieces to New York’s MOMA such as “Gold Marilyn Monroe” (1962) and “Orange Car Crash Fourteen Times” (1963) perpetuated Warhol’s bona fides as a True Blue Icon. When Warhol’s “Four Marilyns”, the 1962 painting of Marilyn Monroe four times, sold for $38.2 million at Phillips Auction House in May of 2013, Warhol works completed the 180 degree turn from blue collar graphic design to museum-level Icon. Further, this congealed the importance of the Warhol Museum’s collection consisting primarily of his early output which is so important to the telling his tale… Past, present and future.

 

ANDY WARHOL Four Marilyns (1962) acrylic, silkscreen ink, pencil on linen. 29 x 21 1/2 in. (73.7 x 54.6 cm.)

 

The pixie-like docent that warmly greeted us at the door of the Warhol Museum ushered us past the extensive lower-hall renovation which was underway. Photo-ops were hard to come by in the only area of the museum that photos were actually allowed.  Museums often disallow photography in their halls, particularly with modern technologies and reproduction techniques being what they are. So these prohibitions are understandable and will be offset in the future by the Museum’s re-worked entry-hall which will be more-picture-friendly for Instagram, Twitter and Facebook users who often drive traffic to events and spaces.  Much like the exterior, the interior was sparse and built the anticipation of knowing that the best was yet-to-come. As we ascended to the 6th floor, the idea that we would see some chronology of the events that shaped the artist’s early life vanished, as looming video screens obliquely hung on all sides in the darkened corridor. Screens were everywhere, each clicking away at some black and white loop of beautiful people in random acts… smoking, brushing their teeth, sitting, sleeping, over-acting, etc. Edie Sedgwick’s nymph-like visage stared at me with meter-wide eyes. Warhol produced thousands of hours of footage of all sorts. Viewers silently glided amongst these motion pictures, some with frenetic energy and others with drunken lethargy. This was one of Warhol’s favorite media, Video. It was fresh and new and there were ample avenues for him to explore with the famous people whom he loved to be surrounded by. Between 1964 and 1966, Warhol created a studio in his “Factory” (studio) where he made nearly 500 screen tests of famous and iconic personalities of the day on a clicking 16mm camera. These 3 minute-long screen tests included art-world luminaries such as Salvador Dali, Dennis Hopper and Edie Sedgwick and were virtually unknown outside the private world of the Factory itself. Later, Warhol morphed his interviews segments into full-blown question-and-answer sessions with the famous faces of Darryl Hall, David Bowie, Grace Jones, LAII (Keith Haring’s young protégé), Rob Lowe, Sammy Davis Jr, and a veritable cornucopia of 1980’s MTV bubblegum royalty. One video, shot from a roof-top, showed famed photographer Peter Beard bisecting a New York street corner with a delicate model balanced precariously on a chair. According to the title-plate, the model spent time in a Nazi prison camp because her father tried to assassinate Hitler during WWII.  Duality indeed. In another clip Warhol awkwardly discusses having dinner with Larry Rivers’ soon-to-be ex-wife the week prior. Both seemed unprepared for the conversation. The rooms felt naughty. As if we were watching titillating things, conversations and private moments, that we shouldn’t be watching. The whole room made me uncomfortable. In some way… I guess it was supposed to.

Not surprisingly, this was also one of my wife’s favorite parts of the museum.

ANDY WARHOL Film Stills The Andy Warhol Museum, Pittsburgh; Founding Collection Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

We also had the opportunity to make a 3-minute video as part of the Warhol Screen Test (http://screentest.warhol.org/). This opportunity was rewarded with perhaps the most uncomfortable video I have ever been a part of. A few screen shots of our video make it pretty clear who had more fun during the screen test. Welcome to my life.


As we descended one flight of stairs, we stumbled into a small room which revealed an entirely different side of Warhol, that of story-board artist and stream-of-consciousness drawing. “The Autobiography of a Snake Called Noa the Boa” was a 1950’s-1960’s illustrated series depicting the world travels of a snake named Noa, drawn for Fleming Joffe leather company, which sold shoes, handbags and other leather merchandise. After many collegiate nights of story-boarding my own movie and Ad concepts, I was struck by the imaginary notion that Andy hurriedly sketched these during the course of an idea-soaked night of booze and cigarettes. The drawings are not detailed or controlled, which is part of the appeal, instead they are a skeletal depiction far-removed from Warhol’s traditional meaty oeuvre.

 

ANDY WARHOL “Noa the Boa” The Andy Warhol Museum, Pittsburgh; Founding Collection Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

The next turn is what made my heart stop. “Elvis 11 Times”. Now, I am not an Elvis fan, per se… But, this silver image of the standing Elvis with outstretched gun (from a publicity shot from the 1960 film Flaming Star) stretching the length of a long wall was an impressive sight to behold. The work was originally intended to be cut down and used for 11 individual works which remained incomplete at his death. Andy himself remarks, “the rubber-stamp method I’d been using to repeat images suddenly seemed too homemade; I wanted something stronger that gave more of an assembly-line effect. With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It all sounds so simple — quick and chancy. I was thrilled with it.” The “Rubber Stamp” method he refers to is more commonly known as silkscreening (sometimes called Serigraphy or screen printing) which, by and large, has received a negative connotation in the last decade or so. However, in the early 1960’s this was a largely ignored, but ancient (dating to 960-1279 AD China) artistic media and something worth investigating for an inquisitive talent like Warhol. Many of his best known, iconic and valuable works were made with a combination of screenprinting and over painting.

 

ANDY WARHOL Elvis 11 Times (1962) acrylic, silkscreen ink, pencil on linen. 432 inches x 78 (1097cm x 198 cm.) The Andy Warhol Museum, Pittsburgh; Founding Collection Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

The effect of such a large and overwhelming sight of Elvis in repetition is that of a fun-house mirror, playing the same image over and over and over. Molding it. Updating it. Modernizing it. Elvis can no longer be relegated to the past. He is the future. Cowboys are no longer a mythological persona in “Old West” storybooks, but an Icon worthy of adoration.

Standing back, I immediately sensed the scope with which Warhol saw the world. Not merely piece-by-piece as we often do, but in much broader strokes. No boarders or limitations. Turning left or right the room revealed its other contents, invisible to me only a moment prior. Marlon Brando’s “Wild One” on a natural unprimed canvas, Jackie O’s repeated portraits before and after her husband’s assassination, Natalie Wood, Mao, Hammer and Sickles, Cecil the stuffed dog. etc. All important, and all quite dead. The tendency with many artists, writers, poets and the like, is an preoccupation with death, mortality and existence beyond this mortal coil.

 

Everything I do is connected with death

~Andy Warhol

 

Andy Warhol “Suicide (Fallen Body)” 1963. The Andy Warhol Museum, Pittsburgh; Founding Collection Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

Warhol’s “Death and Disaster” series, including “Ambulance Disaster”, “Gangster Funeral”, “Electric Chair”, “Catastrophe” and others, create a discomfort as the larger-than-life images hang over you and you instinctively seek out vestiges of life from within the hazy faces buried in silkscreen ink. American audiences are particularly sensitized to these images due in part to a puritanical press-corps which prohibits photographic depictions of the dead in news stories far more than their European counterparts. Elegant in their starkness and relative abstraction, their beauty comes in spite of their morbidity. Warhol’s “1947, White”, a hauntingly serene work, was based on Robert C. Wiles’ death-photos of 23 year-old model Evelyn McHale who leapt from the 86th floor of the Empire State Building in 1947. In her left hand, the elegant strand of pearls around her neck lay clutched as her body lay cradled in the roof of a parked Cadillac, in what has been dubbed the most “Beautiful Suicide”. She is famous only for her death, not her life. The ongoing, daily repetition of this tragedy,  as well as the throngs of onlookers still gazing at her prone body drives home that we are sometimes remembered only for what is best forgotten.

 

The ascendancy and success Warhol experienced in the 1960’s coincided with and antithesized the melancholic Cold War as well as the Kennedy assassination (1963) and later with those of Bobby Kennedy (1968), Martin Luther King Jr. (1968). Seizing upon the angst of these external factors, Warhol satirized and iconized banal subject-matter such as Coca-Cola bottles, Campbell’s Soup Cans, Brillo boxes and other commercial objects which are purchased by the rich and the poor alike. He states, “A Coke is a Coke and no amount of money can get you a better Coke than the one the bum of the corner is drinking. All Cokes are the same and all Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it… And you know it.”  His perceived embrace of rampant consumerism in the face of political turmoil created a scandal around Warhol’s work and persona. His use of heavy subject matter like tragic death juxtaposes his use of the mundane and places each in the context of the other. Death becomes commonplace and Soup becomes extraordinary.

The 1980’s were a period of resurgence after the relative calm of the 1970’s. Warhol’s post-shooting output paled in comparison to those produced prior to the assassination attempt. The 80’s were bullish and embraced all things excessive. Warhol’s was now the venerated “old guard” for the New York Art scene. He was deified and served as mentor and friend to the new-generation of artistic powerhouses, Basquiat, Warhol, Schnabel, Salle, Scharf and others. Warhol’s Brooklyn Bridge glittered with diamond dust. Trump Tower oscillated between light and shadow. The Statue of Liberty shone in variegated colors and even camouflage. But, still Warhol gravitated to his morose roots as New York was gripped by an epidemic in gun violence. This constant televised reminder underscored his own ever-present and painful scarring and his brush with death. The stark depiction in red and black provides a reminder of how little things change.

 

ANDY WARHOL Gun (1982) acrylic, silkscreen ink, pencil on linen. The Andy Warhol Museum, Pittsburgh; Founding Collection Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

Even the room filled with 15 floating metallic balloons remind you of the impermanent nature of life. Adults shuffled through the room like post-modern angels flitting between passing clouds. Fans gently ushered silver, pillow-shaped floating balloons around the rectangular space. This installation, originally the gallery concept for Leo Castelli’s opening night, was intended to be shown with floating lights attached to the balloons, but the balloons could not carry the weight. In the end, the balloons themselves sufficed as their own surreal statement. Snowflake-like fingerprints flecked upon the surfaces and for the first time, this Warhol seemed almost whimsical and approachable. Adults looked like kids. Present day was transported to the space-age, and angels seemed not so distant a concept.

Balloon Room at the Andy Warhol Museum by Carlos Hernandez

Warhol’s “time capsules” captured the innocent and banal of early 1980’s life, but also show what life was like for Warhol day-to-day. Trips to the laundry, the theatre, postcards, sketches, stamps, magazine and newspaper clippings and other ephemera. In total, Warhol kept 612 separate boxes of literally everything that he got his hands on from 1973 till his death in 1987. We scanned through personal photographs of Warhol goofing with friends, Basquiat, Schnabel, Neiman, Scharf and reminisced about the inherently collaborative nature of the artist. Inspired by a young street artist known by the moniker “SAMO” Warhol took up painting on canvas again to collaborate with his many followers. “SAMO”, now better known as Jean-Michel Basquiat, had a contrarian personality that Warhol could relate to as he re-made his life in an image that better suited him. Specifically, where Warhol grew up in a working-class Pittsburgh neighborhood, Basquiat rejected an upper middle-class upbringing in Queens and embraced a life on the city streets of New York City.  “Jean-Michel got me into painting differently, and that’s a good thing.” Coming from a world where image is so carefully trimmed, primped and preened, it was refreshing to see images that were rough, imperfect and truly experimental.

 

The re-energized Warhol toyed with true abstraction including hyper-scale gems made with diamond dust, creating a shimmery surface, shadows, camouflage, oxidation (metallic pigment and urine on canvas) and Rorschach tests. The Rorschach Test was commonly used by psychologists in the 1960’s as a method of determining homosexuality, which at the time was regarded as psychopathology. This stigma would have been intimately familiar to Warhol.

 

 

Jean-Michel Basquiat/Andy Warhol, Collaboration, 1984-85 Acrylic and oil stick on linen 76 x 104 1/8in. The Andy Warhol Museum, Pittsburgh; Founding Collection Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © AWF

As we descended the final staircase, the pixie emerged once again. She politely asked us about our favorite aspects of the museum and informed us about the upcoming unveiling of the new lobby area. She noted that students study art downstairs and she is learning in the best possible place to be inspired.

 

What was our favorite aspect of the Andy Warhol Museum? The answer is hard to pin down to one thing or another. However, It might be this…. We left with a much clearer understanding of Warhol beyond Campbell’s Soup Cans and Marilyn prints. We learned that Warhol liked to make videos of friends and TV shows of celebrity culture. He loved the Art of the Interview, no matter how awkward or difficult his subject might seem. (These interviews included Warhol’s own mother, who looked like an aged Andy in drag.) We learned he was obsessed with celebrity and all of the trappings of it. So much so that he kept a cache of black-and-white photos of Jayne Mansfield and Rock Hudson nearby at all times. We learned that he experimented with balloon installations, printmaking techniques and his Artistically–minded contemporaries. We learned that he created Interview Magazine in late 1969, and it since been dubbed “The Crystal Ball of Pop”. Reams of his magazines featuring covers with Katy Perry, Lil’ Wayne and Brad Pitt sit side-by-side on the wall with the likes of Sting, Grace Jones and Brooke Shields. This melding of MTV era celebrity and contemporary Pop culture updates Warhol and brings his influence solidly into the 21st Century.

 

In short, we learned that Warhol was not a two dimensional artist, but a multi-dimensional thinker. A person who took risks and paid a price for many of them in public and private life. Ultimately he was vindicated by history and remembered as someone great…. Not unlike Kennedy at all.

 

By Kat Barrow-Horth, for ROBIN RILE FINE ART (www.robinrile.com) in Coral Gables, Florida

An elegant 1950s house was doubled in size in Coral Gables, Florida by Kat Barrow-Horth of Robin Rile Fine Art working with Dorlom Construction (www.dorlom.com) and Architect Rafael Portuondo (www.portuondo-perotti.com). The owners wanted light and airy elegance, with Asian elements. They required easy-to-clean fabrics, as they have young children, but wanted be certain the house had a grown-up feel. The soothing palette of cream, white, celadon, apricot, champagne, coral and charcoal gray were taken throughout the house. The Family Room, Master Bedroom, Master Bathroom and Master closet are all new construction, as is the new pool area and landscaping.
Kat Barrow-Horth can be contacted at Kat@RobinRile.com. www.robinrile.com

Entryway with a modern take on an Asian console. The mirror is made with mother of pearl inlay with crystal lamps.

Detail shot of entry console.

Formal Living Room in view into dining room and family room.

Formal Living Room.

Detail of coffee table in Formal Living Room.

Detail of coffee table in Formal Living Room.

Settee with custom pillows and ombre throw.

Cane chairs in formal living room with elephant ikat lumbar pillows.

Bowl on dining room table in a brushed gold.

Family Room: New construction.

Family room with four dropped fixtures hanging from the angled ceiling.

Family room side table in hammered nickle with glass cloches.

Tall Asian chairs with lumbar pillows.

Coffee table details in Family Room with books, trays and white hydrageas.

Vintage ginger jars and vintage books in Family Room.

Series of nine vintage original Asian watercolors.

Details of bracelets on Family room console.

Console details in Family Room.

Master Bedroom in a champagne palette. Above there is a crystal chandelier with cream colored pleated shades. There is also a fireplace opposite the bed and a large full length mirror. The owners wanted the feel of a chic hotel suite so the palette was kept entirely neutral. The wall covering has a tone on tone pearl trellis pattern.

Detail of Master Bedroom bench with acrylic legs and nailheads.

Master bedroom side table detail with tone on tone wall covering in the background.

Master Bathroom with his and hers sinks and shower/steam room. The floor is a marble herringbone pattern which is taken into the shower. The sconces and chandelier are polished chrome with pleated shades.

Detail of Master Bathroom tray.

Master bathroom counter top.

Master closet with his and hers sides. Hanging on the back wall is the owner's wedding gown that was mounted behind an acrylic box with a celadon fabric.

Wedding gown.

Detail of the wedding dress.

Master closet chandelier.

Shoes that I wish were mine. Sigh.

Makeup vanity tray with perfume bottles and cream.

New outdoor pool with black tiles. Outdoor furniture was painted and reupholstered with white cushions with black piping and black & white striped pillows.

Table scape for housewarming party.

SALVADOR DALI

Original drawing from the Dr. Edmund Klein Collection

Dali & DNA (1975)

Black crayon on book “Dali…Dali… Dali” by Max Gerard, 17” x 12” (43.2cm x 30.5cm)

 

Amy Klein, one of Dr. Edmund Klein’s daughters- now an attorney in Buffalo (NY) says, “I shall never forget my father’s rendition of his conversation with Dali, as Dali had his sketchbook and pen in hand. They were discussing the philosophical aspects of the merging between medicine and religion. Out of this discussion came Dali’s version of Jacob’s ladder, comprised of DNA molecules intertwined with the angels ascending to Heaven. The second angel represents my father with the medical staff in hand.

 

The Biblical account of Jacob’s ladder bears repeating here as it sheds additional light on this Dali drawing:

 

Jacob left Beersheba, and went toward Haran. He came to the place and stayed there that night, because the sun had set. Taking one of the stones of the place, he put it under his head and lay down in that place to sleep. And he dreamed that there was a ladder set up on the earth, and the top of it reached to Heaven; and behold, the angels of God were ascending and descending upon it!… then Jacob awoke from his sleep and said ‘Surely the Lord is in this place; and I did not know it.’ And he was afraid, and said, ‘This is none other than the house of God, and this is his gate of Heaven.’

 

Thus, we see the sleeping figure, Jacob, at the bottom of the drawing, and to the right of it, the familiar figure of a man walking while holding hands with a child- known to be Dali’s frequent representation of himself and his father. Just above those figures appears at first glance to be a bird, but is more likely another angelic figure, seemingly adrift from the others- perhaps a fallen angel. The other angels align with the molecules of the double helix spiral of DNA, in which the scientifically minded Dali was long fascinated. He created many works during his Nuclear-Mystical Period in which molecules, atoms, protons and genetic structure of the DNA molecule figured prominently- including the painting with the longest single-word title of any Dali work: Galacidalacidesoxiribonucleaicacid of 1963. Dali’s major works of that time also linked his renewed interest in religion with prevailing discoveries in science.

 

Salvador Dali believed DNA was the ultimate proof for the existence of God. Now, incredibly, DNA experts and forensic scientists are actually looking at Dali’s DNA- reportedly through samples taken from his feeding tube- to try to decode the genetic makeup of creative genius.

 

This marvelous drawing was executed in the book, Dali…Dali…Dali, by Max Gerard- which is a smaller-sized later version of a book whose dust jacket Dali designed, and which won a European award for cover design. Dali’s inspiration: the gold foil packaging of a box of chocolates!

 

It is useful to compare the present drawing to Dali’s “Tree of Life” gouache and pencil of 1976, which was one of the original maquettes for the highly regarded “Alchemy of Philosophers” suite of lithographs published the same year.

Price on request to reed@robinrile.com

 

To read More about the collaboration and friendship

between Dr. Klein and Dali, please see… http://robinrile.com/blog/?p=2209

PASSION and PRUDENCE in FINE ART BUYING

Passion and Prudence in Fine Art Buying
By Reed V. Horth, for CBP Magazine
CBP1
The Art of buying high-end Art combines equal parts pragmatism and lunacy. Meaning,  for someone to spend over $1M on something they ostensibly do not need, both the right and left sides of the brain must be functioning in tandem. Buyers must be pragmatic, as no one wishes to spend this type of money without some form of guarantee that what they are getting is…
  1. Fairly-priced
  2. Authentic
  3. Not subject to repossession by a disgruntled former owner or descendant.
  4. AND that there is a potential for this investment to grow.
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Conversely Art buyers must have passion, in all its varied forms. Oscar Wilde said, “The artist is the creator of beautiful things…. [but] all art is quite useless”. Art is unlike any other asset-class as it is one which may or may not produce a specific and quantifiable return on investment. However, it does provide owners with a sense of pride, culture and status which are not equally conferred upon those owning any other form of asset.
The connotation of an art owner or investor is “educated” whether or not this actually means formally educated or simply a student of life.
Recent auctions, in which Jackson Pollock’s “Number 19, 1948” sold for $58,363,750 at Christie’s New York (in a sale which garnered more than $495,000,000 in aggregate sales), prove that the vibrant market of the ultra-rich is not waning.  The purchaser almost certainly sees this work as a prudent way of parking nearly $60M for a certain period of time, but also understands that the perception of an owner of a Pollock is different from someone who owns either a less-known artist or something merely decorative.
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No millionaire/billionaire ever wishes to be told “no”. In the auction setting, the spectacle of bidding against another equally-moneyed cohort is part of the passion-based art purchase. Successful buyers will often bid a work up simply because they are not acclimatized to losing at anything in their everyday lives. This winner-take-all attitude also transcends in to the dynamic Art fairs, such as Frieze, The Armory, Maastricht, Art Basel and Art Basel at Miami Beach. The early access to the art is essential in beating all other comers on the best works. Collectors vie to be the first or most visible purchaser of a prominent work. The plebian public may have a pick of the rest once red-dots are placed on the best of the best.
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However, private art buyers tend to be less passion-based and more pragmatic in their approach. As the private market is inherently quiet by its very nature, buyers and sellers can maintain a degree or anonymity not available when the press and paparazzi are buzzing at their feet. Of the top 10 prices paid for art in the world, 5 were purchased through private sale.  These include Cezanne’s “Card Players” (Sold for $259M in April 2011), Pollock’s “No. 5, 1948” (Sold for 140M in November 2006), de Kooning’s “Woman III” (Sold for $137M in November 2006) Picasso’s “La Reve” (Sold for $155M in March 2013) and Klimt’s “Portrait of Adele Bloch-Bauer” (Sold for 135M in June 2006). Although we are aware of the names of the buyers now, the art was purchased with little fanfare and no public recognition until after they were closed. Unlike Real Estate, in which a great property listing will be passed amongst varied brokers in order to saturate the market and discover a sale, the very best art properties are sometimes only shown to one person, the buyer. This privacy and intimacy often afford a buyer access to better, more exclusive works and/or better prices, sometimes a combination of both. Market saturation of a particular art property can potentially turn off buyers to perfectly sanguine works. Further, brokers who do saturate the market often lack experience, an understanding of market nuance and industry expertise essential to bringing a transaction to a successful close. After all, this is why they are saturating the market to begin with… Fishing for buyers.
As with everything, balance is essential. A passion-based purchase of a marquis Art property can be made with prudence and pragmatism if given to correct resources. In other words… Yes, you can reconcile “Head” and “Heart”.
SOLD!!! ORIGINAL DRAWING:

Salvador Dali (1904-1989)
Pour mon Angel le Doctor Klein (1978)
Fountain pen ink on paper, 9” x 11” (22.8cm x 28cm) Paper size

The angel theme informs much of the Klein Collection, and the angel in this delightful 1978 work might be characterized as a bit seductive! The long-legged angelic figure is in the au naturel, striking a pose calculated to draw attention, beyond that which would already be assured through her marked inhibition. Dali considered Dr. Klein his “guardian angel” for helping him with a medical condition that has never been fully disclosed and quite likely will always remain a mystery.

SOLD: 6/7/13, Private Collection, Chicago, IL