Artist: Norman Rockwell
TITLE: THE ORIGINAL OLD OAKEN BUCKET STUDY SKETCH OF THE MISSING COCA-COLA NORMAN ROCKWELL
Year: 1930
Medium: Drawing
Medium Detail: Charcoal (Penscil on Paper)
Hand Signed: Signed Lower Right Corner in Pencil NR/Rockwell
Size: 11.00 x 14.00 in | 28 x 36 cm
Not Framed:
Certificate: Yes
Certificate Detail: Bill of sale
Condition: Excellent
Legal Owner: Yes
Private Collector: I bought art work on tue feb 28,2017 private seller from Richmond, Kentucky, United States,the private seller stated is a original Norman Rockwell sketch in 2017
Catalog / Additional Details: The Coca-Cola missing Norman Rockwell The original Old Oaken Bucket study sketch of the missing Coca-Cola Norman 1 the old oaken bucket painting. Norman Rockwell painting process #1 photograph #2 developed charcoal drawing (drawing pencil,skecth study,) #3 oil painting last process "The Old Oaken Bucket," 1932 - A boy sitting on a well with a small wooden barrel of bottles of Coca-Cola in his lap. The Missing Rockwells Why does The Coca-Cola Company only have three of the six paintings that were used as ads? At the time, illustrators, even ones as well-known as Rockwell, were considered just that – and not artists. Their work was not worth saving, and many of the pieces were left at the printers or agencies and never returned to the company. In fact, all three pieces of Coca-Cola Norman Rockwell art that were used in finished ads were found and acquired in the last 25 years. We call the other three the “Missing Rockwells,” and they have even been highlighted on Antiques Roadshow. We are still searching for the these three Rockwell works, which were created for Coca-Cola in the late 20s and early 30s. Two were used as billboards, and one was a calendar – but the original art is still missing. The Unwanted Rockwells The highlight of the exhibit is a series of seven additional paintings that were created and rejected as proposed Coca-Cola ads or used as study sketches for a finished ad. The Coca-Cola Company obviously held Rockwell in high esteem; he was one of the few artists we let sign his works and have his signature included in print ads. So there clearly were strong reasons for rejecting any work Rockwell created for Coca-Cola. These items have been in the hands of private collectors and most have never been on display before. Norman Rockwell painting process #1 photograph #2 developed charcoal drawing (drawing pencil,skecth study,) #3 oil painting last process I chose to show a part of each stage in Rockwell's process for his painting "Just Married." On the upper right is his principle photograph, on the bottom left is a fully developed charcoal drawing, and on the bottom right is a color study with oil paints. His use of shading and value is more apparent in this drawing than any of the previous drawings, which makes sense, since he was trying to capture the intricacies of the two individuals. However, he injects his own style, even humor, into his rendering. The two women look more caricature-like in his drawing, even though they resemble the photograph very well. I believe this drawing fully captures why Rockwell's work was, and continues to be, a hit with the American public: his drawings bring out the emotions of the characters, which in turn attract the viewer to his painting. The two women are stereotypical old cleaning ladies: while they snoop around, they do so with a twinkle in their eyes, and we the viewers forgive them for it.
Net Price: $150,000 to $200,000 for sale
Value: $400,000
Shipping Location: 93535
Keywords: Coca-Cola stolen art,Coca-Cola missing art,Norman Rockwell Coca-Cola, Norman Rockwell art,Norman Rockwell original sign art,Coca-Cola, Norman Rockwell drawings, 200000 dollar art,Rockwell art,Norman Rockwell original, Norman Rockwell study sketch, Norman Rockwell, Norman Rockwell art,Rockwell, art,drawing, painting, Original, Norman Rockwell for sale
Final art work Coca-Cola calender Norman Rockwell art
Study Sketch Norman Rockwell art
Original Artwork of Norman RockwellAs an illustrator, Norman Rockwell almost never created works as objects of fine art. His drawings and paintings were created for one of the many magazines or advertising accounts he illustrated for, and as such, had little or no value at the time. In his early career, works were often just given away. Ad agencies may or may not have kept the work. An art director at an agency may have laid claim to the work or passed it on to someone in his staff. No one then could have imagined the demand for his artwork nor foreseen the price it would command today.
Collectors now pay well over $800,000 for the privilege of owning an original oil painting. A post World War II finished oil painting used as a Saturday Evening Postcover could easily be worth $1 million or more. Oil studies have sold for over $600,000 and charcoal and pencil drawings for near $400,000.
'Barefoot Boy'
“The second call just came out of the blue,” says Ryan. “The grandson of the president of the calendar printing company called us and said, ‘Hey, we have this painting, we think it’s real.’” Ryan says he receives calls like this all the time from people, but it usually turns out to be an extremely old print. This time, it really was a Rockwell original. “You could see the brush strokes and everything,” he says. Coca-Cola won’t disclose how much it bought the paintings back for, but a recent Antiques Roadshow segment on the Coke Rockwells appraised the works at $400,000 to $600,000 each, a number that Ryan says is “pretty close” to the real price. “Let’s just say the family sent their kids through college with that painting,” he said.
Norman Rockwell (American, 1894-1978). Study for Triple Self Portrait, 1960. Oil on photographic paper laid on panel. 11...
Description
Norman Rockwell (American, 1894-1978)
Study for Triple Self Portrait, 1960
Oil on photographic paper laid on panel
11-1/2 x 9-1/4 inches (29.2 x 23.5 cm) (sheet)
Signed and inscribed lower right: NR / My best / to Henry Strawn / Cordially Norman Rockwell
PROVENANCE:
Private collection, Georgia.
EXHIBITED:
Visual Arts Center of Northwest Florida, Panama City, Florida (and elsewhere), "In Search of Norman Rockwell's America," June 12-July 10, 2011.
The present work is an oil study for Norman Rockwell's Triple Self-Portrait, the artist's self-described "masterpiece". Here, the artist, with his back to the viewer and gripping his signature pipe, renders a grisaille image of himself on canvas while studying his reflection in a mirror. The painting electrified the cover of the February 13, 1960 Saturday Evening Post, which debuted the first installment of Rockwell's memoir, My Adventures as an Illustrator. A carefully orchestrated marriage of image and text, the issue hyped the interior article "America's Best Loved Artist Finally Tells His Own Story." Through the Triple Self-Portrait, Rockwell was thus constructing his identity for a public audience. Was he the premier realist painter of the twentieth century? Was he the recorder of an idealized American middle class of dutiful Boy Scouts, nurturing mothers, and hardworking grandparents? Or was he all of this--and perhaps something more?
Scholars have variously interpreted the Triple Self-Portrait as Rockwell's presentation of his multiple selves as an artist. Rockwell's son writes that the portrait, in capturing his father's different personas, embodied the very essence of his realist art, simultaneously innocent and sophisticated: "the slightly awkward figure almost crouched in front of the painting with a touch of the comic; the intensely serious face looking in the mirror with eyes obscured by the reflection of light on his glasses; and the outgoing, confident and friendly face of the drawing on the canvas. . . . We are not allowed to see the artist in one simple image, but fractured into a sequence of figure, mirror image, and slightly artificial self-image. . . . On the one hand, the picture is straightforward, showing the artist painting in his studio. On the other hand, the painting is a careful construct made up of a gradually developed idea followed by meticulous execution" (P. Rockwell in M. Hennessey, Norman Rockwell: Pictures for the American People, Atlanta, 1999, pp. 76-8).
During the 1950s, as Abstract Expressionism claimed center stage in the art world, critics were dubbing Rockwell's paintings as commercial, conservative, and kitschy. The art historian Michele H. Bogart discusses the Triple Self-Portraitas underscoring Rockwell's identity struggle between "high artist" in the European tradition-symbolized by the copies of self-portraits by Durer, Rembrandt, Picasso, and van Gogh tacked to the upper edge of the canvas-and "low artist" for the American people-symbolized by the eagle with stars-and-stripes shield atop the mirror (R. Halpern, Norman Rockwell: The Underside of Innocence, Chicago, 2006, p. 47). Writer Richard Halpern further emphasizes Rockwell's conflicted attitude toward the high art establishment: "The device of the artist reflected in the mirror clearly refers in a general way to works such as Velasquez's Las Meninas. And Rockwell's posture echoes (in a slightly off-kilter way) that of the artist in Vermeer's The Art of Painting. . . . [Rockwell] is having a joke at his own pretensions. Likewise, in the postural reference to the artist in Vermeer's [painting], the tilt of Rockwell's body is exaggerated and awkward as if to suggest the resemblance and cancel it at once. . . . 'Gosh,' it seems to say, 'I'm not really one of those great artists. I'm just a regular guy-like you!'" (Halpern, pp. 47-8).
During the early 1960s, shortly after completing Triple Self-Portrait, Rockwell began showing his (surprisingly) liberal political hand in works tackling current events. Shifting from his bread-and-butter nostalgic images, he depicted such topical issues as race riots and desegregation in the South, space exploration, heated presidential elections, and the Peace Corps' fight against worldwide poverty. Scholar Richard Halpern points out that in Triple Self- Portrait, Rockwell may be hinting at smoldering social problems, soon to combust. Here, a wispy trail of smoke from discarded pipe ash rises from a paper-filled wastebasket by the artist's foot. In addition, topping the easel like a finial is the antique fireman's helmet that Rockwell actually owned, a reminder of the fire that had destroyed his studio in 1943. Is artist Rockwell, his glasses fogged over, blind to the possible conflagration about to start beside him? Or, more likely, is he telling his audience that he is ready to comment on controversial, incendiary topics-that he is more than an illustrator of white, middle-class values of family, faith, community, and economic prosperity?
The present work, a preliminary study for Triple Self-Portrait, points to Rockwell's systematic, painstaking method of completing a painting. For his magazine covers, he first rendered 3"-square concept sketches, which he shared with editors for feedback. During the mid-1930s, black-and-white photography replaced these small sketches: serving as a virtual film director, he would stage sitters and props in a given setting and instruct a photographer to capture various angles. Next, he made a large charcoal drawing of the composition, resembling the grisaille portrait on the easel inTriple Self-Portrait, which approximated the size of the finished painting. To work out the exact palette, he painted a preliminary study like the present lot-often directly over a photograph-in a smaller, 11 x 9" "cover size" so that he could visualize the effect of the image on the newsstand. Finally, he reproduced the charcoal drawing on canvas by using transfer paper. Rockwell's perfectionist fussing over every detail in his paintings suggests that he had a particular story to tell about himself in Triple Self-Portrait: a master realist with ties to both high and low art, who ultimately appealed toand challenged his audiences.
The completed work currently resides at the Norman Rockwell Museum, in Stockbridge, Massachusetts.
Condition Report*:Panel measures 15 x 13 inches; there appears to be no major visible condition issues to note; under UV light, there appears to be no inpaint. framed under glass. Framed Dimensions 17.75 X 15.5 Inches
*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. All lots are sold "AS IS" under the Terms & Conditions of Auction.
Traveling Exhibition, AUCTION
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