Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
Discover how the artwork has performed looking at the estimated historical value to date for this artwork, with its prior recorded sales and comparable artworks.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jul 10, 2020 | Christie's | New York | ONE: A Global Sale of the 20th Century | 68 | $****** - ****** | Annie |
paintings
181.6 x 169.6 cm (71.5 x 66.75 in)
oil and graphite on canvas
Ferus Gallery, Los Angeles
L. M. Asher Family Collection, Los Angeles, 1963
Betty Asher, Los Angeles
Acquired from the above by the present owner, 1987
Los Angeles, Ferus Gallery, Edward Ruscha, May 1963.
Los Angeles County Museum of Art, Six More, July-August 1963, n.p., no. 24 (illustrated).
Albuquerque, Art Gallery, University of New Mexico, Selections from the L.M. Asher Family Collection, January-February 1964.
Milwaukee Art Center, Pop Art and the American Tradition, April-May 1965.
New York, Whitney Museum of American Art, American Pop Art, April-June 1974, p. 40, no. 33 (illustrated).
Newport Beach, Newport Harbor Art Museum, The Last Time I Saw Ferus, March-April 1976, n. p., no. 56 (illustrated).
Los Angeles County Museum of Art; San Antonio Museum of Art, Seventeen Artists of the Sixties, July 1981-January 1982, p. 97, no. 101 (illustrated).
San Francisco Museum of Modern Art; New York, Whitney Museum of American Art; Vancouver Art Gallery; Houston, Contemporary Arts Museum; Los Angeles County Museum of Art, The Works of Edward Ruscha, July 1982-May 1983, p. 51, pl. 14 (illustrated in color).
Sydney, Art Gallery of New South Wales, Pop Art 1955-70, February-April 1985, p. 75 (illustrated).
New York, Tony Shafrazi Gallery, Edward Ruscha: Early Paintings, October-November 1988, n.p. (illustrated).
Newport Beach, Newport Harbor Art Museum; Seattle, Henry Art Gallery, University of Washington; Palm Springs, Desert Art Museum; Purchase, Neuberger Museum; Phoenix Art Museum, L.A. Pop in the Sixties, April 1989-August 1990, no. 76.
Los Angeles, Museum of Contemporary Art; Chicago, Museum of Contemporary Art; New York, Whitney Museum of American Art, Hand-Painted Pop: American Art in Transition, 1955-62, December 1992-October 1993, pp. 220 and 248 (illustrated in color).
Humblebæk, Louisiana Museum of Modern Art; Kunstmuseum Wolfsburg; Turin, Castello di Rivoli, Museo d’Arte Contemporanea; Los Angeles, Armand Hammer Museum of Art at the University of California, Los Angeles, Sunshine and Noir. Art in L.A., 1960-1977, Summer 1997-Fall 1998, p. 234 (illustrated).
Washington, D.C., Hirshhorn Museum and Sculpture Garden; Museum of Contemporary Art Chicago; Miami Art Museum; Modern Art Museum of Fort Worth; Oxford, Museum of Modern Art; Kustmuseum Wolfsburg, Ed Ruscha, June 2000-April 2002, pp. 12-13 and 203 (illustrated in color).
London, Hayward Gallery; Munich, Haus der Kunst; Stockholm, Moderna Museet, Ed Ruscha: Fifty Years of Painting, October 2009-September 2010, pp. 48-49, 74 and 184 (illustrated in color).
W. Wilson, “Patrons of Pop,” Los Angeles Times West Magazine, 1969, p. 22 (illustrated).
C. Knight, “Are the L.A. County Museum’s Modern Shows Really Racist and Sexist?” Los Angeles Herald Examiner, 1981 (illustrated).
C. Knight, “A Decade of Artistic Euphoria,” Los Angeles Herald Examiner, 1981 (illustrated).
B. Hanson, “Edward Ruscha Unites Insight with Acid Wit,” Hartford Courant, 22 August 1982, p. F1.
W. Wilson, “Bay Area Honors L.A. Prophet,” Los Angeles Times Calendar, 1982, p. 82.
Pop Art 1955-70, exh. cat., Art Gallery of New South Wales, 1985, pp. 74-75 (illustrated in color).
P. Schjeldahl, “The Painted Word,” 7 Days, 1988, p. 65.
Edward Ruscha: Words Without Thoughts Never to Heaven Go, exh. cat., Lake Worth, Lannan Museum, 1988, p. 53, fig. 34 (illustrated in color).
P. Schjeldahl, The 7 Days Art Columns, 1988-1990, Great Barrington, 1990, p. 76.
H. Singerman, “Ed Ruscha’s Modern Language,” Parkett, no. 55, 1999, p. 49 (illustrated in color).
J. Belcove, “Arts and Letters,” W Magazine, 2000, p. 229 (illustrated in color).
F. Arditi, “Il Viaggio, il Silenzio, la Liberta,” Ars, 2000, p. 153 (illustrated).
F. Camper, “Hard to Read,” Chicago Reader, 2001, section 1, p. 30.
R. Dutt, “Word Associations,” Blueprint, 2001, p. 33 (illustrated).
H. Walters, “The Art of Being Popular,” Creative Review, December 2001 (illustrated).
A. Rorimer, New Art in the 60s and 70s: Redefining Reality, London, 2001, p. 72.
J. Wainwright, “Reviews: Ed Ruscha,” Contemporary, 2002, p. 94 (illustrated in color).
R. Marshall, Ed Ruscha, London and New York, 2002, pp. 26-27 (illustrated in color).
R. Dean and P. Poncy, eds., Ed Ruscha: Catalogue Raisonné of the Paintings, Volume One: 1958-1970, New York, 2003, pp. 70-71, no. P1962.07 (illustrated in color).
M. Falconer, Painting Beyond Pollock, London, 2015, p. 219 (illustrated in color).
