And while the works by women artists smashing their high estimates (and the artists’ records) were primarily painters, artists working with photography also made waves, most notably
. Collier’s Developing Tray #1 (White)
(2008) sold at Phillips for a hammer price of $48,000 ($60,000 with fees), or 137% of its $35,000 high estimate, breaking the artist’s auction record. At Phillips’s photography sale in London the next day, her 2007 photo Folded Madonna Poster (Steven Meisel)
came in at a close second at £41,250, or about $52,450. Two Simpson works outpaced their estimates: At Sotheby’s, the collage Speechless
(2017) sold for a hammer price of $35,000 ($43,750 with fees) against a high estimate of $18,000; and at Phillips, Corridor (Night)
(2003) sold for a hammer price of $38,000 ($47,500 with fees), or 253% of its $15,000 high estimate.
Other artists who emerged from last week’s sales with new auction records included
, Jacqueline Humphries
(who, at 98, was making her secondary market debut). Among the artists over 50,
had a particularly strong showing. At Sotheby’s on Friday, two of Bartlett’s works garnered prices more than four times their high estimates: FOUR A.M.
(1991–92) set a new record for her work when it sold for a hammer price of $210,000 ($262,500 with fees), or 525% of its $40,000 high estimate; and AT SANDS POINT #32
(1985–86) fetched a hammer price of $160,000 ($200,000 with fees), or 457% of its high estimate of $35,000. A couple of Bauermeister’s intricate wall-based works at Christie’s sold for more than four times their high estimates: Alutable
(1972) set a new record for Baumeister when it sold for 467% of its high estimate of $60,000, for a hammer price of $280,000 ($350,000 with fees); and Go Went Gone
(1967–70) sold for a hammer price of $65,000 ($81,250 with fees), or 433% of its $15,000 high estimate.
Though she saw the surging prices for female artists last week largely as a continuation of a trend sparked years earlier, Bowling was nevertheless optimistic about the results’ implications for the market. “I’m hopeful that the art world continues to foster diversity and see things even out in terms of artists achieving the highest prices.”