The auctions platform is a key player in Hambleton's growing market
NEW YORK, NY / ACCESSWIRE / June 15, 2018 / artnet Auctions (XETRA: ART) is pleased to offer one of the most important works created by artist Richard Hambleton as part of its Urban Art sale, live for bidding now through June 27. Hambleton originally made this untitled triptych for the Mauermuseum located at Berlin's Checkpoint Charlie, which was the sole point of crossing for allied forces at the Berlin Wall during the Cold War. Split down the center like Germany itself, this work is immersed not only in geopolitical history but also Hambleton's own, as it was finished around the same time that the artist famously added his signature Shadowmen to both sides of the Berlin Wall.
The work comes to auction both amidst an increase in demand for Hambleton's artwork and following artnet Auctions' sale of the artist's Jumping Shadow Man, which sold for $108,000 (including Buyer's Premium) in May 2018, and is now Hambleton's third most expensive artwork to ever sell at auction. According to the artnet Price Database, seven of the artist's top 10 auction results have been set in 2017 and 2018.
The artist's market began heating up in 2010, spurred by the artist's sold-out solo show, which toured international cities that same year. The show was the artist's first foray into public life since the mid-1980s, when Hambleton began leading a more reclusive life.
While demand for Hambleton works increased steadily from then on, it saw a dramatic increase in 2017-the same year of his untimely passing, as well as the release of a biographical documentary about him entitled Shadowman and his inclusion in The Museum of Modern Art's 2017 show "Club 57: Film, Performance, and Art in the East Village, 1978-1983."
The demand for Hambleton's work now reflects his legacy as an artist whose art was once more valuable than Jean-Michel Basquiat, who pioneered street art, and who continues to have an impact on contemporary artists working today.
"Richard was a conceptual artist and his art was to evoke a reaction," said Kristine Woodward of Woodward Gallery, who represented the artist. "In the 1980s, he put his large black shadowy silhouette figures on city streets. It was like a repetitive visual icon of different shadowy figures and if you lived here at the time you became very familiar with them."
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SOURCE: artnet AG