Robert Scull learned of my work through Philip and he asked Dick Bellamy to find me.
Robert Scull, the taxi magnate, and his fashion - forward wife Ethel (known as «Spike») had lived across the street from the Metropolitan Museum of Art, in an art - filled apartment at 1010 Fifth Avenue, where Andy Warhol's improvisationally glamorous Ethel Skull 36 Times (the artist's first commissioned portrait) hung in the entry hall, with a Jasper Johns Target and a bronze by Mark di Suvero.
Mr. Rosenquist meant to sell the painting as separate panels, but the collector
Robert Scull bought it whole and kept it that way.
Robert Scull was born in New York City to Russian - Jewish immigrant parents who had anglicized their family name from Sokolnikoff.
Over the years his artwork was acquired by many important private collectors: Bill Blass, Charles Cowles, Phillip Johnson, Dorothy Lichtenstein, Ethel and
Robert Scull, Dorothy and Herbert Vogel, et al. «The two major tendencies in my work are landscape and linear abstraction.
Geffen, in turn, sold the Johns to Kenneth Griffin in 2006 for $ 80m and completing an exceptional provenance that ran from taxi baron
Robert Scull to oil - services heir Francois de Menil, through Newhouse and Geffen to Griffin.
Panelists: Paula Cooper, gallery owner; Lawrence Fleischman, director, Kennedy Gallery;
Robert Scull, collector; and Ron Gorchov, Nathaniel Katz, Jacob Landau, Peter Max, and Robert Rauschenberg, artists.
The day after the exhibition closes, however,
Robert Scull buys the entire work.
The opening is filmed and Rosenquist's dealer, Richard Bellamy, as well as Sidney Janis and collector
Robert Scull are interviewed about Pop art for a half - hour news segment, «Art for Whose Sake?»
While not independently wealthy (as is the case with some dealers even now), Bellamy had no immediate financial pressures or incentives: the gallery was backed by the collector
Robert Scull, who conveniently purchased work from shows for his own private collection.
When Monogram was first exhibited at the Leo Castelli Gallery in 1959, art collector
Robert Scull offered to purchase the work and donate it to MoMA; the museum's director, Alfred H. Barr, Jr., however, declined the offer and the work was purchased by the Moderna Museet, Stockholm in 1964.
One of the most famous auctions in art market history is the Scull sale that took place at Sotheby's Parke Bernet on Ocotber 18, 1973 as Taxi magnate and collector
Robert Scull liquidated his Contemporary art collection to shouted bids and hails of protest.
The title of the piece combines a reference to the New York taxi and limousine baron
Robert Scull, a prominent collector of Pop art and sometime drinking companion of the artist, whose taxicab fleet was called «Scull's Angels.»
Auction houses played an increasingly important role as sellers of contemporary art after 1973, when the auction of 50 pieces from the Pop art collection of American taxicab magnate
Robert Scull — some of which sold at prices 50 times greater than Scull had originally paid — garnered more than $ 2.2 million.
Castelli speaks of his background; fleeing Europe, 1940 - 1941; his U.S. Army service; The Club; establishing his New York galleries; his first wife, Ileana Sonnabend, and her success as an art dealer; galleries in the 1940s and 1950s; his staff; prints; commissioned works; exhibitions and sales of works by Dan Flavin, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, Richard Serra, Frank Stella, and others; collectors including Philip Cortelyou Johnson, Vera G. List, Peter Ludwig, Mr. and Mrs.
Robert Scull, and Mr. and Mrs. Burton Tremaine.
It was given to Ms. Miller by
Robert Scull, a collector.
His first big break came in 1962, when dealer Richard Bellamy, with the support of his backer, collector
Robert Scull, invited Poons to show his work at the nascent Green Gallery.
Included in this group portrait are the famous: Roy Lichtenstein and his «Blam - Pow» comics panels, Andy Warhol, shy, shrewd and tough as nails, the power couple of Leo Castelli and Ileana Sonnabend; the infamous, such as the collector
Robert Scull, who bought so heavily that his own dealer deemed him «vulgar»; and a variegated cast ranging from artists Jasper Johns, Robert Rauschenberg, Robert Indiana and James Rosenquist to pioneering dealer Ivan Karp, controversial curator Henry Geldzahler, media guru Marshall McLuhan, author Tom Wolfe and many, many others.
Inventing Downtown concludes with a look at the Green Gallery (October 1960 — June 1965)-- a hybrid commercial gallery / artist space directed by Richard Bellamy and secretly financed by
Robert Scull.
My work attracted considerable attention and I was invited to participate in important group exhibitions at the Bykert, Bianchini, and Park Place Galleries in New York; and my work was included in several publications notably an Esquire Magazine article on young artists in
the Robert Scull collection.
Patty Mucha, Claes Oldenburg, Lucas Samaras, George Segal, and Rauschenberg at
Robert Scull's East Hampton residence, ca. 1968.
The gallery's director was Richard Bellamy, and its financial backer was the art collector
Robert Scull.
The 1950s crowned a handful of macho artists like Pollock, Rothko and de Kooning, then bounced the powerball back to the collectors —
Robert Scull's trove defined his era — and over to the dealers again, with Larry Gagosian leading the new power pack.
The genesis of the Green Gallery was
Robert Scull's interest around 1959 in discovering and securing works by new artists directly, without having to deal with a gallery.
You mentioned Dore Ashton earlier, which reminds me that she once told me that she had lunch with Guston in the summer of 1965 on the day that the collector
Robert Scull sold his Abstract Expressionist collection in the morning and bought Pop Art in the afternoon.
Not exact matches
I arrived at the Met late in the afternoon, having stopped first at Acquavella Gallery to see
Robert & Ethel
Scull: Portrait of a Collection.
P.S. 1 Contemporary Art Center presents a selection of paintings and drawings by John Tweddle organized in memory of collector
Robert C.
Scull.
Tweddle's energetic and intelligent work captured the interest of collector
Robert C.
Scull, who became a friend and long - time supporter.
Also known as «Broadway Bob
Scull,» he was among the first collectors in the country to recognize the potential of such notables as Andy Warhol, Jasper Johns,
Robert Rauschenberg, and James Rosenquist.
ROLE MODEL:
Robert & Ethel
Scull, Charles Saatchi, Stefan Simchowitz, Adam Sender MO: Buy deep and extensive holdings of work by choice artists before they're famous, ideally making them famous in the process through energetic word - of - mouth marketing efforts, creating a sense of inevitably of the artist's impending stardom; then, when the moment arrives, sell their work off at auction, or privately, at a gigantic markup over the purchase price.
Described by Tom Wolfe as «the folk heroes of every social climber who ever hit New York» —
Robert was a high school drop - out from the Bronx — the
Sculls shrewdly recognized that establishing themselves as influential art collectors offered access to the upper echelons of Manhattan society in a way that nouveau riche «taxi tycoon» did not.
With the covert support of America's first celebrity art collectors,
Robert and Ethel
Scull, he gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art market mushroomed around him.
Acquavella Galleries, Inc., New York,
Robert and Ethel
Scull: Portrait of a Collection, April 13 — May 27.
2010 «Tom Wesselmann, Plastic Works» Maxwell Davidson Gallery, New York, (exhibition catalogue) Judith Goldman,
Robert & Ethel
Scull, Portrait of a Collection, New York, Acquavella Galleries Tom Wesselman, Flowers, Galerie Klaus Benden, Cologne (exhibition catalogue)
-- Neil, Jonathan T.D. «
Robert and Ethel
Scull: Portrait of a Collection.»
--
Scull,
Robert C. «Re the F - 111: A Collector's Notes,» The Metropolitan Museum of Art Bulletin (New York) 26, no. 7 (March 1968), pp. 282 — 83.
Among the most significant over the past several decades include The Pop Object: The Still Life Tradition in Pop Art (2013), Lucian Freud Drawings (2012), Georges Braque: Pioneer of Modernism (2011),
Robert and Ethel
Scull: Portrait of a Collection (2010), Picasso's Marie - Thérèse (2008), Manolo Millares (2006), James Rosenquist: Monochromes (2005), Lucian Freud: Recent Paintings & Etchings (2004), Cézanne Watercolors (1999), Alberto Giacometti (1994),
Robert Rauschenberg Drawings: 1958 - 1968 (1986), Lyonel Feininger (1985 - 1986; this exhibition traveled to The Phillips Collection in Washington, D.C.), Edgar Degas (1978), Claude Monet (1976), Henri Matisse (1973) and many others.
At a news conference afterward, the artist
Robert Rauschenberg accused Mr.
Scull of» infidelity» and the auction house of encouraging» profiteering.»
In 1965 the
Sculls auctioned off part of their Abstract Expressionist collection at Sotheby's — the first of many auctions — and used the proceeds to start the
Robert and Ethel
Scull Foundation, which supported unknown artists.
Secretly backed by collectors
Robert and Ethel
Scull, who were contracted to purchase $ 18,000 worth of art from it annually, the Green opened in 1960 with di Suvero's first solo show (for the rest of his life Bellamy would breathlessly advocate for the sculptor).
With the financial backing of
Robert and Ethel
Scull, Richard Bellamy — who will become Rosenquist's first dealer — opens the Green Gallery in New York in October with the exhibition Mark di Suvero.
There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the
Robert C.
Scull collection.
Scull,
Robert C. «Re the F - 111: A Collector's Notes,» The Metropolitan Museum of Art Bulletin (New York) 26, no. 7 (March 1968), pp. 282 — 83.
Smith went on to win the Mr and Mrs
Robert C.
Scull Prize for a non-American artist under 35.
Gift of Mr. and Mrs.
Robert C.
Scull, 1963.
Over one hundred additional works from the
Scull collection are illustrated in the 288 - page catalogue that features Judith Goldman's revelatory narrative, based on hitherto unpublished sources, of the dramas that accompanied
Robert and Ethel
Scull's ever - shifting relationships with artists, dealers, the press and each other.
George Segal, Portrait of
Robert and Ethel
Scull, 1965.
Still only 19 years old, Landfield had a series of important breaks when his work was acquired by the architect and the famous collectors
Robert and Ethel
Scull and in 1967 he was included in the Whitney Annual.
Hardcover exhibition catalogue accompanying the show,
Robert & Ethel
Scull: Portrait of a Collection.