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Lot 2172
José Guerrero
Spanish/American, 1914-1991
Antojos Negros con Amarillos, 1966
Signed José Guerrero (ur); inscribed as titled, signed and dated Madrid
1966 on the reverse
Oil on canvas
74 x 49 inches (188 x 124.5 cm)
Provenance:
Galeria Juana Mordo
Exhibited:
Rotterdam, Museum Boymans-Van Beuningen, no. 46
Sold to a buyer in New York for $217,000An
Auction Record Outside of Spain
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Lot 2196
Andy Warhol
American, 1928-1987
Untitled (Gold Shoe)
Signed Andy Warhol (lr)
Ink, watercolor, gold leaf and mixed media collage on paper
9 7/8 x 20 inches (25 x 50.8 cm)
Property from the Estate of Marilyn Kaytor
Sold to a buyer from Connecticut for $205,000
The January 21, 1957 issue of Life Magazine featured a two-page spread devoted to the “Crazy Golden Slippers” of Andy Warhol. These elaborate artworks by Warhol were the dominant focus of his artistic output at the time, and were exhibited in a well-received show at the Bodley Gallery in New York. The show, entitled “Andy Warhol: The Golden Slipper Show or Shoes Shoe in America,” December 3-22, 1956, related to Warhol’s previously established vocation as a graphic artist for such clients as McCall’s, Harper’s Bazaar, and I. Miller. Yet today, one can also see in them the development of a popular-culture dialogue that Warhol employed throughout the remainder of his career. The Golden Slipper works of Warhol merge high and low culture in subject matter as well as technique. Since ancient times, ornamental gold leaf was restricted to objects of luxury primarily created for the upper classes. In contrast, contemporary candy-box decorations with simulated gold finishes, as are used in Gold Shoe, are mass-produced to appeal to a broad public. While Clement Greenberg’s 1939 essay “Avant-garde and Kitsch” proposed language to understand the divide between high and low art, Warhol instead took the concept of “kitsch” and endowed it with a language-like structure that brings it into the realm of high art. The first references to popular culture in visual art antedate Warhol’s work by nearly a century. As early as 1882, Edouard Manet employed the Bass Ale symbol in his iconic A Bar at the Folies-Bergère. In 1910, Stuart Davis took cues from Robert Henri to reject traditional ideas of subject matter and to instead select imagery from the modern world. Davis absorbed this idea and soon began to incorporate commonplace objects such as disinfectant and cigarette brands into his art. Ranging from Henry Ford’s “Model A” to Campbell’s soup cans, America is defined by labels. Perhaps no one understood this better than Warhol, as evidenced by the titles given to the shoes exhibited in 1956. Bearing titles such as Elvis Presley, James Dean, Truman Capote and Zsa Zsa Gabor, the Golden Slippers series transcends utilitarian function to embody the artist’s fantasy life of celebrity.
 Marilyn Kaytor was an influential writer on food and cooking who produced stories for numerous magazines and newspapers, including Esquire, New York, The Los Angeles Times, The Saturday Evening Post and Cuisine. She was also the food editor of Look Magazine for twelve years and authored the book 21: The Life and Times of New York’s Favorite Club. At a time when Americans were just becoming aware of foreign cooking, she wrote articles on the cuisines of a variety of exotic locales from the West Indies to the Balkans. She conceived the ideas for her articles, and then traveled to conduct primary research, tested recipes, scouted shoot locations, gathered props and styled the shoots herself. Her work won many awards for visual and editorial coverage.
A woman of great style and personal flair, she maintained a New York apartment filled with Renaissance revival furniture, African hunting trophies and works of art ranging from pre-Colombian ceramics to contemporary paintings. In this setting she hosted lively dinner parties that brought her stylish food tableaux to life. Among her many acquaintances was the artist Andy Warhol. The three works offered in this sale were among a group that she purchased from Warhol in the early 1960s.
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Lot 2197
Andy Warhol
American, 1928-1987
Untitled (Floral Still Life)
Signed Andy Warhol (lr)
Ink, watercolor, gold and metal leaf on paper
16 3/4 x 13 3/4 inches (42.5 x 34.9 cm)
Property from the Estate of Marilyn Kaytor
Sold to a buyer from Germany for $145,000
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Lot 2187
Armando Morales
Nicaraguan, b. 1927
Mujeres, 1974
Signed Morales and dated '74 (lr); inscribed on the stretcher Four Nudes, 1974
Oil on canvas
63 3/4 x 51 1/4 inches (160.7 x 130 cm)
Sold to a buyer from Canada for $121,000
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Lot 2158
Mark Rothko
American, 1903-1970
Seascape, circa 1940
Signed Rothko (lr)
Oil on canvas
14 1/8 x 28 1/8 inches (36 x 71.4 cm)
Literature:
Anfam, David. Mark Rothko: The Works on Canvas, no. 177, illus.
Sold to a buyer from France for $103,000
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Lot 2198
Andy Warhol
American, 1928-1987
Untitled (Pink Shoe)
Signed Andy Warhol (lr)
Ink, watercolor and mixed media collage on paper
13 x 19 1/2 inches (33 x 49.5 cm)
Property from the Estate of Marilyn Kaytor
Sold to a buyer from New York for $97,000
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Lot 2217
Kenneth Noland
American, b. 1924
Trans Jut
Acrylic on canvas
6 1/2 x 93 1/2 inches (16.5 x 237.5 cm)
Provenance:
Mr. and Mrs. Richard Danziger
Waddington Galleries, London
Maxwell Davidson Gallery, New York
Christie's New York, May 1, 1985, lot 52
Sold to a buyer from New York for $97,000
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Lot 2188
Bob Thompson
American, 1937-1966
Men and Birds, 1963
Signed B. Thompson and dated '63 on the reverse
Oil on canvas
36 x 36 inches (91.4 x 91.4 cm)
Provenance:
Aquired directly from the artist
Mr. and Mrs. Herb and Nancy Weingarten
Exhibited:
New York, Whitney Museum of American Art, Bob Thompson, September 1998 - January 1999
Detroit, Michigan, Detroit Institute of Art, Bob Thompson, September 1999 - January 2000.
Sold to a buyer from New York for $91,000
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