Sentences with phrase «over high estimate»

A third record, also set in the Gaffé sale, was for a sculpture by Pablo Picasso, when a bronze of his famous Tete de femme (Fernande) went for $ 4,956,000, well over its high estimate of $ 3.5 million.

The sale set 17 records for artists, including Ethiopian Julie Mehretu, whose iconic painting Untitled 1 sold for $ US1, 022,500 dollars, a new record for the artist and well over the high estimate of $ US600,000 - 800, 000.

These 66 lots were almost evenly sold over high estimate (21 lots, or 31.8 percent), in range of estimated values (25 lots, 37.9 percent) and under low estimate (20 lots, or 30.3 percent).

Total of 38 lots were sold over high estimate (22.2 percent of sold lots), and most lots were sold in range of estimated values — 93, or 54.4 percent.

Tuesday's Postwar and Contemporary Evening Sale at Christie's brought in $ 388.5 million, well over its high estimate of $ 329 million and a record for any auction of its kind.

«Figure Writing Reflected in Mirror,» a 1976 canvas depicting a male figure thought to be the artist's lover George Dyer, was the other top seller at $ 44.8 million, over its high estimate of $ 40 million.

Gerhard Richter's blazing red «Abstraktes Bild» from 1991 sold for $ 21.4 million, or just over its high estimate of $ 20 million.

Continuing with this week's trend, a Jean - Michel Basquiat piece, Irony of Negro Policeman (1981) led the sales, fetching # 8.1 million, slightly over its high estimate of # 8 million.

In fairness, there was a healthy appetite for a few artists — Milton Avery's Female Gamester netted $ 580,000, over the high estimate of $ 300,000, and his Beach Lizards also garnered $ 322,000 with premium, a result in between the estimates.

Warhol's silkscreen Gun sold over its high estimate of # 800,000 at # 802,850, while Princess Diana and Diamond dust shoes both realized a price within their estimates, at # 993,250 and # 1.1 million respectively.

As we saw last night, The Sender Collection attracted huge competition as bidders sought works from this pioneering group of artists driving the total to $ 14 million, well over the high estimate and with multiple artist records.

The piece sold for $ 1.1 million ($ 1.4 million), just over its high estimate of $ 700,000 / 1,000,000.

At Phillips in Midtown Manhattan, in an auction called «The New Now,» a 2011 sculpture by Kline shot $ 20,000 over its high estimate, ultimately selling for $ 37,500.

A large Andy Warhol (1928 - 1987) painting of multiple images of actress Natalie Wood, Lot 31, shown above, that was formerly in the collection of Mr. and Mrs. Si Newhouse Jr., sold for $ 2,755,750, way over its high estimate of $ 1.5 million.

His large sepia - toned acrylic and silkscreen 1966 portrait of Marlon Brando in a scene from «The Wild One,» Lot 12, sold well over its high estimate of $ 2 million to a private collector for $ 2,642,500 (including the buyer's premium), but a small 1962 casein and pencil on canvas of a Campbell's Chicken With Rice Soup Can painting, Lot 13, that had been estimated at $ 600,000 to $ 800,000 soared to $ 1,652,500 (including the buyer's premium, much to the consternation of the determined underbidder, a woman in a black suit, high heels and wearing large earrings, who immediately got up from her seat and left with her companion after the lot was knocked down.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

Perhaps the most attractive work was «Apple Orchard,» a 1987 oil painting by Gerhard Richter, shown below, that sold for $ 1.65 million, well over its high estimate of $ 1.2 million.

Lot 21 is a very strong still life of flowers by Vincent Van Gogh (18853 - 1890) that sold at Sotheby's May 13, 1998 for $ 4,0732,500 just over its high estimate of $ 4 million.

Among the works that did well were Lot 140, «Model for T.W.U.,» a maquette for a larger work that was installed on West Broadway in SoHo in 1981 - 2 by Richard Serra (b. 1939), which sold for $ 123,500, more than twice its high estimate; Lot 181, an untitled 1984 work by Keith Haring (1958 - 1990) that sold for $ 101,500 and had had a high estimate of $ 70,000; Lots 119 and 120, both by Christopher Wool (b. 1955), that sold for $ 96,000 and $ 79,500, and which had both carried high estimates of $ 35,000; Lot 131, «Negativert,» a large interesting 1983 work by Sigmar Polke (b. 1941) that sold for $ 96,000, a bit over its high estimate of $ 90,000; Lot 132, «Abstract Painting 816 - 3,» a 22 by 20 1/8 oil on canvas that resembles a melted multi-colored metal red, white and blue flag by Gerhard Richter (b. 1932), that fetched $ 79,500 and had had a high estimate of $ 0,000; and Lot 134, «Dein Ashenes Haar Sulamith,» a very fine 1981 work by Anselm Kiefer (b. 1945), shown at the top of the article, that sold for $ 79,500 and had a high estimate of $ 70,000.

World auction records were also set for Gordon Matta - Clark (1943 - 1978), Lot 21, «Bronx Floors: Threshole,» 1972, $ 222,500; Matthew Barney (b. 1967), Lot 5, «Cremaster 4,» 1994 - 5, $ 387,500, more than double its high estimate; Mariko Mori (b. 1967), Lot 6, «Red Light,» 1994, one of an edition of three, $ 101,500, well over its high estimate of $ 60,000; Christopher Wool (b. 1955), Lot 35, «Untitled (Fool),» 1990, $ 420,500, seven times its high estimate; John Currin (b. 1962), Lot 2, «Untitled,» 1990, $ 46,000; Jeff Koons (b. 1955), Lot 14, «Buster Keaton,» 1988, a large polychrome wood sculpture, one of an edition of three, $ 409,500; Andreas Gursky (b. 1955), Lot 11, «Atlanta,» 1996, a large Cibachrome print from an edition of six, $ 90,500; and Richard Serra (b. 1939), Lot 22, «Sign Board,» 1969, $ 431,500.

This heavenly artwork was first offered by Sotheby's New York back in 1997 achieving a hammer price of $ 140,000, which was 17 % over the high estimate.

Its success was closely followed by Three Studies for a Portrait of George Dyer by Francis Bacon, which went a little over its high estimate to sell for $ 51.8 million.

In fact, over 38 % of the lots in offer sold over high estimate, including Adrian Ghenie's Self - Portrait as Vincent Van Gogh (estimated at $ 300,000, sold for $ 2.6 million!)

Although not as shocking or provoking as Red But Close - Up, Red But (Distance) did achieve a significant hammer price of $ 330,000, selling for 65 % over the high estimate at Sotheby's auction house in New York in 2000.

«Classic works from the 1960's fetched very strong prices,» Tracy Williams, senior vice president of Sotheby's Contemporary Art Department, noted, adding that six of the sale's top ten lots sold for over their high estimate.

It was a $ 103,048,800 sale, led by Wayne Thiebaud's Nine Candy Apples, selling for way over its high estimate of $ 1.5 million — the final price was $ 4.5 million!

The top lot of the evening was Jean - Michel Basquiat's Pork (1981), selling over its high estimate for # 5,122,500 / $ 6,838,538 / $ 6,167,490.

When Mr. Simchowitz met Parker Ito (whose work sold at a February auction in London for $ 93,594 over a high estimate of $ 25,000), he had a day job painting oil derricks near LAX, Los Angeles County still a surprising source of untapped crude.

Eyebrows were raised over the high estimate for Mark Grotjahn's abstract, «Untitled (S III Released to France Face 43.14),» double the artist's current auction high.

Eyebrows were raised over the high estimate for Mr. Grotjahn's abstract, «Untitled (S III Released to France Face 43.14)»; nonetheless, bidders pushed the price up to $ 16.8 million.

At Phillips, a bundle of two works that were sold separately at Christie's in March 2005, for $ 10,200 and $ 4,800, went together for $ 37,500, over a high estimate of $ 18,000.

Richard Serra's drawings also performed handsomely — Celan (2010) was taken home for $ 1.39 million, a comparable $ 640,000 over its high estimate.

With Le Mans provenance, some would say this is the ultimate Cal Spider, and the new owner paid a big price — $ 1 million over high estimate — for the privilege of ownership.

They responded, sending a number of works with storied provenances over their high estimates.

Sotheby's sold $ 44.8 million of art, including the highlights such as Alexander Calder's $ 1.8 million Mobile with Nine Petals and Ed Ruscha's $ 1.6 million Hotel, both over the high estimates.

It was a successful night for artists like Richard Prince, John Baldessari and Lee Ufan, all of which managed to go over their high estimates.

There were 11 more lots with hammer price at $ 1 million or more (3 of 11 are Andy Warhol's works), and excellent 47.7 percent of sold lots had their hammer prices over high estimates (83 lots).

Outstanding prices were also seen for more recent work, with paintings by Mark Bradford; David Hammons, sold to benefit the Contemporary Art Museum St. Louis; and a record - setting Elizabeth Peyton all soaring over their high estimates.

Not exact matches

Important factors that could cause actual results to differ materially from those reflected in such forward - looking statements and that should be considered in evaluating our outlook include, but are not limited to, the following: 1) our ability to continue to grow our business and execute our growth strategy, including the timing, execution, and profitability of new and maturing programs; 2) our ability to perform our obligations under our new and maturing commercial, business aircraft, and military development programs, and the related recurring production; 3) our ability to accurately estimate and manage performance, cost, and revenue under our contracts, including our ability to achieve certain cost reductions with respect to the B787 program; 4) margin pressures and the potential for additional forward losses on new and maturing programs; 5) our ability to accommodate, and the cost of accommodating, announced increases in the build rates of certain aircraft; 6) the effect on aircraft demand and build rates of changing customer preferences for business aircraft, including the effect of global economic conditions on the business aircraft market and expanding conflicts or political unrest in the Middle East or Asia; 7) customer cancellations or deferrals as a result of global economic uncertainty or otherwise; 8) the effect of economic conditions in the industries and markets in which we operate in the U.S. and globally and any changes therein, including fluctuations in foreign currency exchange rates; 9) the success and timely execution of key milestones such as the receipt of necessary regulatory approvals, including our ability to obtain in a timely fashion any required regulatory or other third party approvals for the consummation of our announced acquisition of Asco, and customer adherence to their announced schedules; 10) our ability to successfully negotiate, or re-negotiate, future pricing under our supply agreements with Boeing and our other customers; 11) our ability to enter into profitable supply arrangements with additional customers; 12) the ability of all parties to satisfy their performance requirements under existing supply contracts with our two major customers, Boeing and Airbus, and other customers, and the risk of nonpayment by such customers; 13) any adverse impact on Boeing's and Airbus» production of aircraft resulting from cancellations, deferrals, or reduced orders by their customers or from labor disputes, domestic or international hostilities, or acts of terrorism; 14) any adverse impact on the demand for air travel or our operations from the outbreak of diseases or epidemic or pandemic outbreaks; 15) our ability to avoid or recover from cyber-based or other security attacks, information technology failures, or other disruptions; 16) returns on pension plan assets and the impact of future discount rate changes on pension obligations; 17) our ability to borrow additional funds or refinance debt, including our ability to obtain the debt to finance the purchase price for our announced acquisition of Asco on favorable terms or at all; 18) competition from commercial aerospace original equipment manufacturers and other aerostructures suppliers; 19) the effect of governmental laws, such as U.S. export control laws and U.S. and foreign anti-bribery laws such as the Foreign Corrupt Practices Act and the United Kingdom Bribery Act, and environmental laws and agency regulations, both in the U.S. and abroad; 20) the effect of changes in tax law, such as the effect of The Tax Cuts and Jobs Act (the «TCJA») that was enacted on December 22, 2017, and changes to the interpretations of or guidance related thereto, and the Company's ability to accurately calculate and estimate the effect of such changes; 21) any reduction in our credit ratings; 22) our dependence on our suppliers, as well as the cost and availability of raw materials and purchased components; 23) our ability to recruit and retain a critical mass of highly - skilled employees and our relationships with the unions representing many of our employees; 24) spending by the U.S. and other governments on defense; 25) the possibility that our cash flows and our credit facility may not be adequate for our additional capital needs or for payment of interest on, and principal of, our indebtedness; 26) our exposure under our revolving credit facility to higher interest payments should interest rates increase substantially; 27) the effectiveness of any interest rate hedging programs; 28) the effectiveness of our internal control over financial reporting; 29) the outcome or impact of ongoing or future litigation, claims, and regulatory actions; 30) exposure to potential product liability and warranty claims; 31) our ability to effectively assess, manage and integrate acquisitions that we pursue, including our ability to successfully integrate the Asco business and generate synergies and other cost savings; 32) our ability to consummate our announced acquisition of Asco in a timely matter while avoiding any unexpected costs, charges, expenses, adverse changes to business relationships and other business disruptions for ourselves and Asco as a result of the acquisition; 33) our ability to continue selling certain receivables through our supplier financing program; 34) the risks of doing business internationally, including fluctuations in foreign current exchange rates, impositions of tariffs or embargoes, compliance with foreign laws, and domestic and foreign government policies; and 35) our ability to complete the proposed accelerated stock repurchase plan, among other things.

Whether accurate or misleading, the higher estimate crept across Twitter over the course of the week of July 26 when the story ran, drawing outrage among observers already critical of Mayer's tenure at Yahoo.

(More than $ 25 billion, according to his careful analysis — over twice as much as Trump's highest estimate.)

It routinely beat earnings estimates over the last four quarters, setting high expectations this time for another rout.

Conservative estimates say their will be 30 % more video on the Internet in 2017; more aggressive numbers put that figure as high as a 79 % increase over 2016.

Salesforce beat analysts» earnings estimates by 1 cent and posted higher - than - expected revenue, up 24 percent year over year.

The investment bank's revenues jumped over 16 percent from a year ago, and earnings were far higher than analysts» estimates.

All of these projections / estimates will be revised over time, resulting in a new (either higher or lower) estimate of CHT funding for that year.

He didn't get to build higher than everyone else, he gave up control of his West Side dreamland, and sued over its sale, but ended up with a stake that the Bloomberg Billionaires Index estimates is worth $ 640 million, his most valuable holding.

Estimates of Chinese outbound investment over the next decade run as high as $ 2.5 trillion, a rich source of advisory fees in the United States.

While the up - front price for its Solar Roof looks high, SolarCity asserts that tax credits and the estimated value of energy created over the product's 30 - year power warranty will save customers money in the long run.

The BlackRock GPS — which combines traditional economic indicators with big data signals such as web searches and text mining of corporate conference calls — suggests a higher growth rate over the coming 12 months than currently reflected in consensus estimates.