ANDY WARHOL (1928-1987) Portrait of Locksley Shea Gallery 1975

ANDY WARHOL (1928-1987) Portrait of Locksley Shea Gallery 1975 synthetic polymer paint and silkscreen on canvas, in four parts 79 by 79 in. 200.7 by 200.7 cm. This work was executed in 1975. Footnotes: Provenance Acquired directly from the artist by the present owner in 1975 Exhibited Minneapolis, Locksley Shea Gallery, Andy Warhol: Paintings and Drawings, September 1975 Detroit, Detroit Institute of Arts, Andy Warhol: Fifteen Minutes of Fame, Summer 1990 Minneapolis, Minneapolis Institute of the Arts, December 2006-circa October 2014, on extended loan Literature The Collection of Gordon Locksley + George T. Shea, Fort Lauderdale: Museum of Art | Fort Lauderdale, Nova Southeastern University, 2009, exh. cat., front and back covers, illustrated in color Neil Printz and Sally King-Nero, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculpture Late 1974-1976, vol. 04, New York: Phaidon Press Inc., 2014, p.286, no.3144, illustrated in color Gordon Locksley and George T. Shea were a visionary duo who forever changed the landscape of the art world in the burgeoning creative center of Minneapolis and beyond. True groundbreakers of their time, Locksley and Shea remained dedicated to the ambitions of young artists and were steadfast supporters of the arts for the entirety of their storied and inspirational lives. Born in Chicago, Illinois in 1930, Locksley moved to Minneapolis in 1954 and met Shea, a professor in Japanese language and literature at the University of Minnesota, shortly after. Both determined in their entrepreneurial spirits and already connected to the local art scene, the two opened the Red Carpet Beauty Salon and Beauty College and found success selling art with the encouragement of their friend Jan Van der Mark (Chief Curator at the Walker Art Center from 1962-67). As business picked up, the two moved their gallery into their mansion in the distinguished Kenwood Neighborhood on Mt. Curve Avenue (the same neighborhood where the Walker Art Center is now located). The Locksley Shea Gallery soon became one of the leading galleries in the Mid-West. The gallery was a mainstay of cultural happenings in Minneapolis in the sixties and seventies and mounted exhibitions by Andy Warhol, Donald Judd, Brice Marden, and Ellsworth Kelly, amongst others. Parties at the gallery were legendary; each opening resulted in a new outrageously delightful story, including one fabled night in 1967 with live music and a performance by Christo where he wrapped models in cellophane. Locksley was also part-owner of one of Minneapolis' first gay bars, Sutton Place, and a steadfast advocate for equal rights in the city. In 1976, after much success (and the monumental sale of a Chuck Close painting to Charles Saatchi) Locksley and Shea took a trip to Rome and shortly after moved to France for several years before returning to the States in 1994, where they settled in Palm Springs and Fort Lauderdale respectively. The collectors' impeccable taste evolved into a particular interest in Modern & Contemporary International Art and works by cutting-edge contemporary artists such as T.V. Santhosh, Bharti Kher, Li Tianbing, and Yinka Shonibare CBE RA. As Locksley once noted of the evolution of his taste, 'Along the way, I saw things that I hadn't seen before and I knew that these artists were adding to the vocabulary of art and the way we look at art' (quoted in With You I Want to Live: The Collection of Gordon Locksley and George T. Shea, exh. cat. Museum of Art Fort Lauderdale, 2009-10, n.p.). Locksley and Shea remained invested in the cultural landscape of Minneapolis and their respective lives in Florida and California by donating and loaning significant works for an extended period to the Minneapolis Institute of Art and mounting an exhibition of their collection at the Museum of Art in Fort Lauderdale from 2009-2010 entitled With You I Want to Live. Locksley and Shea were a magnetic force whose compelling influence and generosity of spirit cemented their legacy as legendary figures in the Art World and beyond. Bonhams is honored to offer works from their magnificent collection as seen in the following pages. Saleroom notices: Lot Subject to Irrevocable Bid A party has provided with an irrevocable bid on the lot, which will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, may be compensated for providing the irrevocable bid by receiving a contingent fee, a fixed fee or both. If the irrevocable bidder is the successful bidder, any such contingent fee, fixed fee or both (as applicable) may be netted against the full purchase price for the lot. Bonhams requires the irrevocable bidder to disclose his or her financial interest in the lot if he or she bidder is advising anyone with respect to the lot. This lot is subject to the following lot symbols: W ○ W If the lot is not picked up immediately following the auction it may be removed to an offsite storage location for collection. Please contact the salesroom location for further details including dates of removal and applicable charges. ○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful. 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Saleroom Notice:
Lot Subject to Irrevocable Bid
A party has provided with an irrevocable bid on the lot, which will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, may be compensated for providing the irrevocable bid by receiving a contingent fee, a fixed fee or both. If the irrevocable bidder is the successful bidder, any such contingent fee, fixed fee or both (as applicable) may be netted against the full purchase price for the lot. Bonhams requires the irrevocable bidder to disclose his or her financial interest in the lot if he or she bidder is advising anyone with respect to the lot.