Sotheby’s offers collections from Prescient Hollywood producers


A discerning and generous connoisseur, Cramer built an amazing collection of some of the greatest masterpieces of his generation. With over 3,000 hours of television entertainment, Cramer built an inimitable career on his ongoing passion for storytelling. This talent for storytelling is evident in Cramer’s collection – always attuned to the world around him and with an anticipatory understanding of the zeitgeist, Cramer developed a keen interest in the art of his time and his collection evolved over the years, around the changing Story of the moment. Beginning in the early 1960s with his interest in modern masters’ prints and drawings, Cramer’s trust in his own eye grew rapidly and he soon began working with a younger generation of talent such as Roy Lichtenstein, Ellsworth Kelly and Jasper Johns – all of whom he met personally . Lichtenstein in particular had a profound influence on Cramer’s own creative process, and the artist’s signature pop style even inspired the typical pop art graphics of the Batman series. Cramer even used his patronage to attract Andy Warhol from a guest appearance. to convince The love boat.

Cramer, who never clung to the sentimentality of the past, did not limit his passion for collecting to the art of his age, but supported new generations of artists for over 50 years. Works by Cecily Brown are strongly represented in the collection through several masterpieces from the 1990s and early 2000s, and works by other younger artists such as Elizabeth Peyton, Mark Grotjahn, and Lisa Yuskavage complement an overarching theme of the tension between abstraction and figuration. While each work is a true archetype of each artist’s unique and distinctive practice, the collection presents a refined, insightful narrative of the conceptual and aesthetic developments during branding in the 20th century.

The group featured in Sotheby’s Contemporary Evening Auction is led by Lichtenstein’s two paintings: Craig … (Estimate 12/18 million) – an essential expression of the artist’s pop mode and an important testimony to Lichtenstein’s contribution to contemporary art with two of his most iconic motifs: the comic blonde and the brushstroke. By reflecting on his own influence on contemporary culture and reproducing his earlier appropriation of mass culture, Lichtenstein embodies the ultimate embodiment of his influence on his artistic intentions. Complicating the dichotomy between “high” and “low” culture, the present work illustrates the main motifs of Lichtenstein’s investigation of mass-produced objects and the reproduction of romantic comics, and examines the distinction between the visual arts and the commercial imagery that permeates our everyday lives. An incomparable and exquisite overview of Lichtenstein’s ever-growing image panorama of culture in America in the 1960s. Two paintings: Craig … is the last of Lichtenstein’s unabstract, archetypal blond works, a uniquely striking example of this undisputed icon of American post-war art.

The collection is highlighted by other works by Lichtenstein, including Small house from 1997 (estimate $ 600 / 800,000). A major breakthrough in a late career moment, Small house is perhaps Lichtenstein’s most concise exploration of the illusionistic perspective. A symbol of domesticity, private life and intimacy, Small house stands for finished, kitschy-sticky houses, reproducible architecture and impenetrable surfaces. Other examples from Lichtenstein’s house series can be found in renowned collections such as the National Gallery of Art.

For Ellsworth Kelly, the Cramer Collection is characterized by a high depth of collection, which includes paintings as well as a number of extraordinary works on paper and ranges from Kelly’s early, radical works of the late 1950s to his more recent works of the last decade. Outstanding from the collection are two extraordinary Kelly paintings that have remained in Cramer’s collection since their acquisition shortly after their completion: Blue panel with a green curve from 1989 and White relief over black as of 2012 (estimated at $ 2.5 / $ 3.5 million). Kellys Blue panel with a green curve from 1989 shows the artist’s extraordinary achievement as a colorist and sublime mastery of formal composition. Dominating in scale and floating above the wall, the work distills the most important elements of painting into a powerful composition that is permeated with tension. An ingenious exploration of asymmetry, exuberant articulation of chromatic dialogues, the painting is a tour de force of minimal abstraction. Executed in 2012, White relief over black is a painting of enormous monochromatic gravity. The work, created just a few years before the artist’s death, is remarkable evidence of the artist’s incessant innovation in form, line and color. Kelly uses only the purest shapes and hues, adding the same warmth and vibrancy to monochromatic schemes as his works exploring the color wheel. In addition to these two masterpieces, Cramer’s collection also includes Kelly’s powerful ones Untitled from 1979, molded from weathered steel. An early departure from his painting practice, which paved the way for a further examination of the material Corten in the 1980s, Untitled radiates a rich warmth and blurs the line between painting and sculpture.

Many works in the collection are fresh on the market and are having their world auction premiere. This also includes that of Jasper Johns Bushbaby from 2005, first exhibited by Matthew Marks Gallery in 2006 and acquired by Cramer shortly after the work was created. Bushbaby has featured in major exhibitions by the artist, including Focus: Jasper Johns at the Museum of Modern Art, New York 2008-2009 and Jasper Johns: Gray at the Art Institute of Chicago and the Metropolitan Museum of Art, New York in 2007-2008 – emphasis on Significance of the monochrome in John’s oeuvre. Embody the best of John’s brilliant art meditations, Bushbaby shows a mature master returning to the conceptual themes on which his most famous works of the 1960s were based. Similar to his famous flags, maps or numerals, Johns contains a well-known repeating motif in the present work. These patterns pay homage to the early modern masters Picasso and Cezanne and draw on a rich history of still life and interior painting. While Johns depicts nothing but circles and diamonds on paper with no inherent meaning, Johns urges the viewer to consider the duality of art as a series of visual cues and an object. It is this conceptual genius that underlines the materiality of art that makes the artist’s paintings the central artistic moment of the 20th century.

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