By Carter B. Horsley

This evening Contemporary Art auction at Sotheby's May 15, 2007, is highlighted by major paintings by Mark Rothko and Francis Bacon, three works by Jackson Pollock, and good works by Jean-Michele Basquiat, Franz Kline, Peter Doig and Roy Lichtenstein.

Lot 31, "White Center (Yellow, Pink and Lavender on Rose)," is a splendid 1950 oil on canvas by Mark Rothko (1903-1970) (see The City Review article on a Rothko exhibition) that was consigned by David Rockefeller. The lot, which measures 81 by 55 1/2 inches, has an estimate of $40 million and press reports indicated that Sotheby's gave Mr. Rockefeller a guarantee of $46 million. The auction record for Rothko is $22.4 million, set at Christie’s in 2005. Mr. Rockefeller acquired the work for $10,000 in 1960 from the Sidney Janis Gallery in New York.

"The impact of White Center," according to the catalogue entry, "inheres in the complexity that underlies its ostensible simplicity. At first glance, the unwary viewer might discern little more than a mere four shapes arrayed upon a ground. Look closer, though, and everything becomes changeful, nuanced and contrapuntal - like a fugue of feelings translated into colors. Thus, Rothko rubbed down the orange ground in the lower sections so that there it almost evaporates before the gaze. Yet when we look towards the top half of the composition, this selfsame 'ground' has modulated into a blood red aura advancing around the white, black and crowning orange rectangle. Likewise, the even application of the lowermost rectangle counterpoints the hazier, mottled surfaces of those above it. The apparent lateral symmetry, too, is deceptive: notice how the white ends at its right in staccato vertical dabs whereas its leftward edge splays out and slightly downwards. The shadowy black band also seems to emerge beneath the white as a horitzontal turquoise strip - a premonitory whisper amid the loudest chords of light."

While there is no question that this is a superb Rothko and that David Rockefeller is impressive provenance, the high estimate and guarantee are pretty ambitious. Still, in a recent article in artnet.com, Charlie Finch wrote that the Rothko "should probably meet the hammer at, conservatively, $90 million."

The painting sold for $72,840,000 including the buyer's premium as do all results mentioned in this article. It was a world auction record for the artist and for Post-War and Contemporary Art. Tobias Meyer, the auctioneer, announced at a press conference after the sale that Mr. Rockefeller attended the auction and issued a statement in which he said he was "very pleased it did so well" and that he "was sorry to see it go."

Works on paper as a rule do not fetch as astronomic prices as oils on canvas and Rothko is an artist who frequently created his signature images on paper. Lot 36, for example, is a fine acrylic on paper mounted on board that measures 23 3/4 by 18 5/8 inches. Executed in 1968, it carries an extremely modest estimate of $1,500,000 to $2,000,000. It sold for $3,064,000. Its provenance is listed only as "property of a private New York Collection" that acquired it at Sotheby's May 2, 1988.

If the Rockefeller Rothko has the highest estimate in this auction, the painting that was placed on the catalogue's cover, "Study from Innocent X," by Francis Bacon (1969-1992) does not lag too far behind as its "refer to Department" estimate was reported to be more than $30 million. The work, Lot 22, is an oil on canvas that measures 78 by 55 3/4 inches. Executed in 1962, it was influenced by Diego Velasquez's 1650 portrait of Pope Innocent X. Bacon started the series of paintings of Popes in 1946 but he destroyed those he did between 1946 and 1949.

"As the present work demonstrates," the catalogue entry observes," Bacon's chosen task in painting the Pope was not one of representing an image but rather re-representing the meanings inherent to Velàquez's portrait: stature, presence, public role and the very mecahnics of being. In essence, Bacon gets under the skin, goes beyond the surface of the image, and engages a series of emotions that lie at the heart of ordinary daily existence in the most extraordinary way. This 1962 work is the painting that most directly engages the palette of the Velàsquez. It is the first canvas in the papal series to evoke both the Pope's red robes and the red velvet of the throne and drapes in the background of the Spanish master's portrait, in contrast to Bacon's previous use of dark blue, green or black backgrounds in the Popes....Bacon's other source material was the film still from Sergei Eisenstein's The Battleship Potemkin - the close-up of a nurse on the Odessa steps with open mouth, bloody face and broken glasses. this agonized image with the solent scream gave birth to distorted faces throughout Bacon's oeuvre and was emloyed to great effect in the Poples. In Study from Innocent X, the grimacing face contains traces of the broken lenses, while the vigorous impasto and brushstrokes of the face convey the anguish of human strife."

The painting sold for $52,680,000. Bacon's previous auction record was $27,598,425.

The sale was quite successful with 87.8 percent of the 74 offered lots selling for a total of $254,874,000, not far off from the pre-sale high estimate of $265,100,000. Mr. Meyer said that he was "absolutely thrilled" with the "fantastic" results. He said that 41 works sold for over one million dollars and that there was "lots of international bidding," adding that "you can see how aggressive and strong the market is.

In addition to the Rothko and Bacon records, 13 other artist's auction records were set.

The auction, however, was not a complete success as all three lots in the auction by Jackson Pollock failed to sell, which has to be something of a record and underscores the inebriation of a market. Given reports in the last year or so of private sales of 20th Century art in the nine figures, it is perhaps not surprising now that major works by major artists might lead hedge-funders to part with $50 million or so. It is interesting to speculate how many billions they must spend to accumulate an "impressive collection" of a couple of dozen high quality works. It is even more ponderous to consider what world-class collections of tribal art and antiquities they could amass with just of fraction of what they are now spending on their Rothkos and Bacons.

On a more realistic level, of course, it is becoming extremely difficult to extrapolate values for an artist's oeuvre given these "impressive" prices.

Lot 25 is a strong work by Willem de Kooning (1904-1997) entitled "Figure in Landscape I." An oil and enamel on board mounted on fiberboard, it measures 24 1/2 by 14 1/2 inches and was executed circa 1951. The painting is closely related to a larger work, "Figure in Landscape No. 2" at the Hirschhorn Museum and Sculpture Garden in Washington, D.C. This lot has a conservative estimate of $3,000,000 to $4,000,000. It sold for $4,072,000.

Another fine de Kooning in the auction is Lot 32, "Untitled (Woman)," which is an oil on canvas that measures 47 1/4 by 35 3/4 inches. It was once in the collection of Mr. and Mr. Joseph H. Hirschhorn of Washington, D.C., and it is dated 1966. It has a modest estimate of $4,500,000 to $6,500,000. It failed to sell and was passed at $3,500,000. The catalogue notes that the later paintings of women appear more tranquil and their integration into thir surroundings more lush and laconic," adding that "their superstructure is no longer overt; whipash line is replaced by large areas of freely brushed color. There is a clear shift to a luminous pastel palette borrowed from nature and landscape, which coincided with de Kooning's move out of Manhattan to Springs, Long Island, leaving behind both the pace of the city as well as the intensity of the artistic community of the 1950s."

Lot 24 is a very strong abstraction by Franz Kline (1910-1962). Entitled "Study for High Street," it is an oil and tempera on paper that measures 14 by 22 inches. It was painted in 1952. It has a modest estimate of $400,000 to $500,000. It sold for $450,000.

Lot 20 is a strong work by Roy Lichtenstein (1923-1997). Entitled "Girl in Mirror," it is an porcelain enamel on steel that is one of an 1965 edition of 8. It measures 42 by 42 by 2 inches. It has an estimate of $1,000,000 to $1,500,000. It sold for $4,072,000.

Several works in the auction have been consigned by the estate of Barbra Jacobson including Lot 43, "Still Life with Green Vase," by Roy Lichtenstein. The oil and magna on canvas measures 56 by 40 3/4 inches and was painted in 1972. It has an estimate of $3,000,000 to $4,000,000. It sold for $4,296,000. While its limited palette is not as colorful as many Lichtensteins, this large work is a very strong composition and the inclusion of paint brushes indicates that it held a special significance for the artist.

Another major work from the Jacobson estate is Lot 48, "Smoker #17," by Tom Wesselmann (1931-2004), an oil on shaped canvas that measures 96 by 131 inches. Executed in 1975, it has an estimate of $2,500,000 to $3,500,000. It sold for $5,864,000, more than double the artist's previous auction record. Wesselmann became well-known in the 1960s for his series of the "Great American Nudes" and in 1967 he became the "Smoker" series and began using a projector to transfer his sketches to large canvases. He subsequently introduced a hand to the imagery in the series, and, according to the catalogue entry, "With the addition of the hand came added complexity and dynamism, as well as a heightened sexuality. The sultry smoke wafts through the fingers and off the glossy red lips reminiscent of a film still or advertisement. The long red manicured nails evoke the glamour and style of Hollywood where the cigarette was often viewed as a fashionable and seductive accessory - a covenient and unmistakable allusion to sex at a time when films were heavily censored."

Lot 47, "Woman in a White Wicker Rocker," is a fine sculpture by George Segal (1924-2000) that was also consigned by the Jacobson estate. The plaster, wood and wicker chair sculpture measures 42 by 33 by 50 inches and was created in 1984. It is unique but a bronze version was cast in the same year in an edition of five. The lot has an estimate of $250,000 to $350,000. It sold for $180,000.

Also from the Jacobson estate is Lot 51, "Number 26, 1949," an enamel on canvas painting by Jackson Pollock (1912-1956) (See The City Review article on a major Pollock exhibition). It measures 23 1/8 by 14 1/8 inches and was acquired at Christie's November 3, 1987 in New York. It has an estimate of $3,500,000 to $4,500,000. It failed to sell and was passed at $2,600,000.

The best of the three Pollocks in this auction is Lot 34, "Rhythmical Dance." An oil and enamel on cut-out paper, it measures 32 by 24 inches and was executed in 1948. It has an estimate of $12,000,000 to $16,000,000. It failed to sell and was passed at $7,500,000.

The largest Pollock in the auction is Lot 26, "Number 16, 1949," an oil and enamel on paper mounted on masonite that measures 30 3/4 by 22 1/4 inches. It has an estimate of $18,000,000 to $25,000,000. It failed to sell and was passed at $17,500,000. This lot was once in the collection of Peggy Guggenheim in Venice and G. David Thompson of Pittsburgh.

Anthony Grant, a member of the Contemporary Art Department at Sotheby's, said after the sale that they knew from the exhibitions that interest in the Pollocks was "thin," but added that there was "great interest after the sale."

The auction has two strong and large works by Jean-Michel Basquiat (1960-1988). Lot 15 is an untitled acrylic, oilstick and spray paint on canvas that measures 78 1/2 by 72 inches and was executed in 1981. It has an ambitious estimate of $6,000,000 to $8,000,000. It sold for $14,600,000, shattering the artist's previous auction record of $5,509,500.

Lot 73, "Untitled (Bracco Di Ferro)," is an acrylic and oilstick on canvas with wood supports by Jean-Michel Basquiat. It measures 72 inches square and was executed in 1983. It has an estimate of $1,500,000 to $2,000,000. It sold for $2,840,000. It is not crystal clear why similar works of similar size and date and quality by the same artist should have such disparate prices and while the more expensive lot is more colorful it may not be as easy to live with as the less expensive one for some collectors.

Lot 35 is a striking, painted aluminum sculpture by Ellsworth Kelly (b. 1923) that is entitled "Black Venus (EK227)." It measures 85 by 36 by 2 5/8 inches. It was created in 1959 and is unique. It has an estimate of $3,000,000 to $4,000,000. It sold for $2,952,000. One could argue that this sculpture is much better than the artist's paintings.

Lot 70 is an impressive work by Anselm Kiefer (b. 1945) that is entitled "Die Frauen der Antike (The Women of Antiquity)." The oil, shellac, emulsion and crayon on photographic paper on canvas measures 110 1/4 by 75 inches. It was executed between 1991 to 2000. It has a modest estimate of $450,000 to $650,000. It sold for $992,000.

Lot 12, is a arresting work by Marlene Dumas (b. 1953) entitled "In the Beginning." An oil on canvas that measures 57 by 78 3/4 inches, it was painted in 1991. It has an ambitious estimate of $1,500,000 to $2,000,000. It sold for $1,608,000.

Lot 13, "Italian Woman," is a stainless steel sculpture by Jeff Koons (b. 1955) that is 30 inches high. Executed in 1986, it is number one in an edition of three with one artist's proof. It has an estimate of $900,000 to $1,200,000. It sold for $2,168,000.

Lot 68, "Those Who Are Here Again," is a large oil and lacquer on canvas by Daniel Richter (b. 1962). It measures 116 by 133 1/2 inches and was painted in 2002. It has an estimate of $350,000 to $450,000. It sold for $824,000.

Lot 11 is a striking, large oil on canvas by Peter Doig (b. 1959), entitled "The Architect's Home in the Ravine." Executed in 1991, it measures 78 3/4 by 108 1/4 inches and has an estimate of $1,200,000 to $1,800,000. It sold for $3,624,000, far below the more than $11 million that one of his paintings fetched in London in February. The catalogue entry notes that while modern architecture was "the talisman of a brave new urban world," "Instead of optimism, however, Doig here presents an image of abandonment and creeping desuetude at odds with Modernism's ideal: the rectilinear, architectural lines are all but consumed by the encroaching organic riot of frosted foliage, a poignant reminder of the futility of man's endeavors in the face of indomitable nature."

Lot 3 is a strong work by Glenn Brown (b. 1966) that is entitled "The Marquess of Breadlabane." An oil on panel, it measures 38 by 31 inches and was painted in 2000. It has an estimate of $400,000 to $600,000. It sold for $734,400, a new auction record for the artist. Brown appropriates the work of other artists through reproductions. Here the image is based on a series of portraits by Frank Auerbach.

Lot 2, "Guys and Dolls," by Cecily Brown, sold for $1,104,000, a new auction record for the artist.

Lot 4, "No-One Ever Leaves," by Jim Hedges, sold for $689,600, more than double the artist's previous auction record.

Lot 7, "Kiss/Panic," by John Baldessari, sold for $992,000, a new auction record for the artist.

Lot 14, "Dude Ranch Nurse #2," by Richard Prince, sold for $2,504,000, a new auction record for the artist.

Lot 28, "Jardin d'Armour," by Hans Hofmann, sold for $2,056,000, a new auction record for the artist.

Lot 38, "Photograph," by Robert Rauschenberg, sold for $10,680,000, a new auction reocrd for the artist.

Lot 39, Standing Male Nude in the Shower," by David Park, sold for $1,160,000, a new auction record for the artist.

Lot 56, "Beta Delta," by Morris Louis, sold for $1,832,000, a new auction record for the artist.

Lot 62, "Untitled," by Dan Flavin, sold for $1,384,000, a new auction record for the artist.

Lot 68, "Those Who Are Here Again," by Daniel Richter, sold for $824,000, a new auction record for the artist.