Sell or Auction Your Robert Longo Lithograph Signed for up to Nearly $50,000 or More at Nate D. Sanders Auctions
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Sell Your Robert Longo Lithograph Signed
Robert Longo (born January 7, 1953) is an American artist, filmmaker, and musician. Longo became first well known in the 1980s for his Men in the Cities drawing and print series, which depict sharply dressed men and women writhing in contorted emotion.
Below is a recent realized price for a Robert Longo lithograph signed. We at Nate D. Sanders Auctions can obtain up to this amount or more for you:
Robert Longo Lithograph Signed. Sold for nearly $50,000.
Consign your Robert Longo lithograph signed lithograph signed at Nate D. Sanders Auctions. Send a description and images to us at [email protected].
Nate D. Sanders Auctions has sold the following lithograph items:
Andy Warhol 1965 Red ”Liz” Lithograph — Limited to Approximately 300
Andy Warhol lithograph of Hollywood superstar, Elizabeth Taylor. Made with acrylic and silkscreen ink on canvas and limited to approximately 300. Warhol signs and dates the piece at lower right in black pen, ”Andy Warhol 65”. Simply titled ”Liz”, this red version is part of a series with different background colors. Warhol began his Taylor paintings in 1963 and used a publicity photo for the film ”Butterfield 8” as his source. Measures 22” x 22”. Matted and framed, measures 29” x 29”. Not examined out of the frame, but viewable portion is near fine. Sold for $42,250.
Consign your Robert Longo lithograph signed at Nate D. Sanders Auctions. Send a description and images of your Robert Longo lithograph signed to us at [email protected].
Sir John Tenniel original illustration from ”Through the Looking Glass”, the sequel to the enormously successful ”Alice’s Adventures in Wonderland”. This illustration appears on page 201 of the first edition of ”Looking Glass”, done to illustrate the text, ”She was standing before an arched doorway over which were the words QUEEN ALICE in large letters…” A presentation inscription by Tenniel is written to the lower margin, ”With Mr. Tenniel’s kind regards / Christmas 1876”. Pencil drawing was done sometime between 1869-1871 when Tenniel again collaborated with Lewis Carroll in illustrating his novel, an undertaking that Tenniel first rejected due to the time-consuming nature of the work: after drawing preliminary sketches, Tenniel would transfer the artwork onto woodblocks using tracing paper and then finish shading on the blocks. The Brothers Dalziel would then produce engravings from the blocks. Tenniel at first rejected Carroll’s offer to illustrate ”Looking Glass”, but ultimately relented as Carroll could find no other illustrator that matched Tenniel’s ”grotesque” interpretation of the fantasy creatures he envisioned. Drawing measures 3.25” x 4.5”, archivally matted and framed to 11.25” x 12.75”. Very light foxing to margins and light uniform toning, overall near fine condition. Sold for $37,500.
Auction your Robert Longo lithograph signed at Nate D. Sanders Auctions. Send a description and images of your Robert Longo lithograph signed to us at [email protected].
Jasper Johns “Between the Clock and the Bed” Lithograph
Jasper Johns lithograph entitled ”Between the Clock and the Bed”, printed in colors in 1989. Signed by Johns in pencil, dated and numbered 21/32, apart from the 11 artist’s proofs. Printed on HMP paper with Friends of the Philadelphia Museum watermark, and publisher’s blindstamp of ULAE (245) of West Islip, New York. Image measures 33.75” x 19.5”, framed to 51.5” x 39.25”. In very good condition with a few very small spots of foxing in margin and minor buckling, overall in very good condition. Sold for $18,000.
Consign your Robert Longo lithograph signed at Nate D. Sanders Auctions. Send a description and images of your Robert Longo lithograph signed to us at [email protected].
Massive archive from Thomas Hart Benton, including autograph letters, an artistic sketch and personal, handwritten notes about 81 of his lithographs. Archive also contains Benton’s will, as well as drafts and pre-publication material related to the catalogue raisonne, ”The Lithographs of Thomas Hart Benton.” Throughout his career, Benton produced 95 lithographs, many made to be sold in limited editions during the 1930’s, with the purpose of making art accessible to regular people. Of these and others, Benton handwrites the story of each lithograph, describing in moving detail the inspiration behind his subjects — the people and landscapes of America. Of the lithograph ”Instruction,” which shows an African-American man reading to a young boy, Benton handwrites: ”A painting of this was made in 1940 directly from life. One of my students at the K.C. Art Institute found the man selling snake medicine…He caught rattle snakes and let them rot and ferment in gallon jars and sold the result as an aphrodisiac. He was also a preacher…this picture shows him telling about the Bible…” Of the lithograph ”Down the River,” Benton writes, ”A scene on the White River in the Ozarks. Drawings for it were made in 1939 while on a float trip down the river. The area presented is now under seventy-five feet of water due to the construction of Bull Shoals dam…such scenes are still common…Twice yearly, Spring and Autumn, I have floated these rivers for many years, fishing, camping…watching the river banks go by. The boy in the picture is my son T.P. Benton.” For the lithograph entitled ”Lonesome Road,” Benton recalls, ”…in 1926…I took a train to Little Rock…out of the window I saw this negro with his donkey cart on the hot dusty road…” Benton also comments on the popular lithos he created of the characters in ”Grapes of Wrath,” including Ma and Pa Joad, and ”Departure of the Joads.” In a poignant description of ”Morning Train,” Benton writes, ”Soldier leaving a small plains town. This litho was also called ‘Going West’ which in soldiers argot meant going to die…” Of Benton’s very first lithograph ”The Station,” he writes, ”First lithograph…in 1926 I made a trip in a Model T Ford from Springfield, MO to Taos NM, stopping on the way at the new oil towns of the Texas, panhandle.” Benton writes vividly to describe ”Fire in the Barn Yard”: ”This picture was made from a memory of my childhood. My grandfather ‘Pappy’ Wise had a cotton farm a few miles, 5 or 6, out of Waxahachie, Texas and one night when I was about 7 or 8 yrs old a giant light appeared in the sky. It was so great that speculation about the end of the world was bruited about among the grown folks at the farm. As it turned out a straw stack had caught fire on an adjoining farm…such things are immensely impressive to young’uns.” In addition to handwritten notes by Benton referencing 81 of his lithographs (each on a 8.5” x 11” sheet, most with pictures of the lithograph), there are copious autograph notes by Benton answering questions about his lithographs (”damned if I know” Benton writes about the titling of one piece), and ten autograph letters signed by Benton (with an additional ANS). Letters range in date from 1964 to 1973, all regarding the catalogue raisonne. Letter dated 16 May 1966 reads in part, ”…You might have a note at the end of your catalogue, or maybe in your foreword, saying that Benton made a number of experimental lithographs which were not circulated and which are not obtainable or even in some cases recorded…Thomas H. Benton”. In a 25 January 1968 letter, Benton draws a sketch of his lower body that he injured in the Bahamas and writes, ”…one 3” cut in my right leg, (7 stitches,) one knocked in rib due to a clumsy guy who got catapulted into my chest when the boom of the mainsail came around on a wind shift, one $80 loss at poker, one prolonged drunk to sustain above injuries…you know how these tropical s.o.b.’s clear land with a machete. [He then draws a stump and himself] Small stump. Dried out. Sharp as a razor. Me walking in the brush. Stump up pant’s leg. Tripped up – fell down. Stump performed neat operation on the fore muscle of my right leg below knee.” Much more content throughout the letters, showcasing Benton’s dry wit, such as ”I finally got to a satisfactory end with my legal problems, they will be signed, witnessed and damned before the dark of this day.” He also writes in a 16 March 1970 letter, ”…I have turned sculptor this winter – working on a complicated football action in wax for a bronze casting. What with the recalcitrant medium – wax is tough, hard and contrary, – I haven’t done anything else…one other thing. I have finally got a will contrived…” Copies of both Benton and his wife’s Last Will & Testament are included in this archive. The last portion of the archive that contains handwritten notes by Benton consists of two parts: edits to the draft of the catalogue raisonne and answers in response to questions by Creekmore Fath, the book’s author. In over 50 pages, Benton sheds light upon his creative process and previously unknown works, including one entitled ”Hoeing Cotton.” Of the painting associated with the lithograph ”Island Hay,” Benton writes, ”A very small painting, but one of my best.” He writes that he first got interested in lithography in 1929 when he made a ”small litho of ‘The Station’ – called ‘Okalahoma”’ and that ”George Miller did all my printing. While I lived in New York (up to Spring of 1935 most lithographs were done in George’s studio on East 14th St…George knew the kind of light and shade contrasts I wanted.” Completing the archive is a signed copy by Benton of ”The Lithographs of Thomas Hart Benton” as well as hundreds of pages of notes and drafts by the author, with additional content from Benton that did not make it into the book. Also included are eleven 9” x 12” lithograph copies on print-weight paper; a 1954 Art Museum of New Britain, Connecticut book of Benton’s work; and approximately 13 letters by Benton’s wife and daughter, Rita and Jessie. All items in generally very good condition and quite legible. An exceptional archive of material related to the body of work of one of America’s greatest artists. Cut & paste the following URL to see dozens of more images: www.photobucket.com/bentonlot. Sold for $17,365.
FREE APPRAISAL. To buy, auction, sell or consign your Robert Longo lithograph signed that is for sale, please email your description and photos to [email protected] of Nate D. Sanders Auctions (http://www.NateDSanders.com).
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