Price Check! Here’s What Sold—and for How Much—at the Frieze Art Fair’s Inaugural Online Viewing Room

In the Before Times, the art world would be sunburnt and burned
out after a weekend of Frieze New York festivities on Randall’s
Island. These days, though, the only glare is from the blue light
of computer screens as gallerists and VIPs peruse the digital
booths in Frieze’s inaugural Online Viewing Rooms, which run
through May 15.

As one might expect, some larger galleries reported
sales in the early hours of the preview days, a good number of
which were likely lined up in advance. Gagosian reported selling
out its solo presentation of work by Katharina Grosse and Hauser &
Wirth found homes for at least 16 works in the early hours of the
fair, many of which were created by artists in response to their
recent isolation.

For many market-watchers, this
virtual fair—the second major one since lockdown began, after Art Basel Hong Kong’s
virtual event—served as a valuable litmus test for how well the
concept may be able to sustain galleries before large public
gatherings become safe again.

“While the Frieze OVR is an
improvement on Art Basel Hong Kong, the proof is in the pudding,”
David Zwirner told Artnet News of his experience with the platform.
“It’s what clients are doing and how they are reacting. For us, it
was that most sales came through our own outreach” than through
Frieze’s platform—though, he concedes, activity picked up after the
first few days and resulted in sales of work by Isa
Genzken, Raymond Pettibon, and Wolfgang
Tillmans.

Zwirner reported that, on opening day, the gallery received
“maybe 11 inquiries from Frieze and over 100 on
our own site, which leads me to believe that creating a proper
online environment is not something that you do overnight. The
online art business model is not the online art fair
model.”

Still, since Frieze offered dealers full refunds from the New
York fair and the ability to participate in the online platform at
no cost, it offered only upside—especially for those galleries
without sophisticated online apparatuses of their own. Smaller
outfits reported interest in works priced under $50,000, often a
sweet spot for the physical fair as well. Zurich-based Galerie Maria Bernheim sold out of
works by rising star Sarah Slappey priced between
$2,500 and 10,000, while Fredericks and Freiser sold a number of
pieces by Jocelyn Hobbie for between $24,000 and
$60,000.  

Below, we’ve assembled a list of reported sales from the fair,
all converted to USD for ease of reading.

As always, keep in mind that some dealers occasionally offer
inflated figures, while others prefer to report ranges or “asking
prices” to obscure actual selling prices, or to cover up the
favorable treatment they offer to some buyers, but not to
others.

We did not include reported sales unaccompanied by a price or
price range in our list, so the galleries that tend to disclose
figures are disproportionately represented here.

PAINTINGS

$2 million: George Condo’s Distanced Figures
3 (2020) at Hauser &
Wirth

$1.8 million: Leon Kossoff, Study from ‘Minerva
Protects Pax from Mars’ by Rubens (1981) at Piano
Nobile

$550,000: Alice Neel, Veronica (1980) at David
Zwirner

$480,000: Michael Borremans, Fire from the Sun (2017)
at David Zwirner

$450,000: Oscar Murillo, manifestation (2019) at David
Zwirner

$425,000: Simon Hantaï, Etude (1969) at Kasmin

$400,000: Suzan Frecon, untitled composition in four
colors (2020) at David
Zwirner

$380,000: Nate Lowman, Escalade (2005) at David
Zwirner

$275,000: Rita Ackermann, Mama, Aftermath Leaving
Neverland (2020) at Hauser &
Wirth

$250,000: A Loie Hollowell painting from 2019 at Pace

$250,000: Leon Kossoff, Study for Copy of ‘Cephalus and
Aurora’ by Poussin No. 1 (1976) at Piano
Nobile

$250,000: Nigel Cooke, Oceans (2020) at
Pace

$225,000: Henry Taylor, I’m so full of doubt, but
I must Hustle Forward, as my daughter Jade would
say (2020) at Hauser &
Wirth

$210,000: Miquel Barceló, Rentrer (2019) at
Acquavella Galleries

$200,000: Charles Duback, Black and White (Anne Waterhouse)
(1960) at Eric Firestone
Gallery

$180,000: Damian Loeb, Lolita (2005) at Acquavella Galleries

$170,000: Rodney Graham, Untitled (2020) at
Lisson Gallery

$150,000: A painting by Dorothy Iannone at Ortuzar
Projects

$120,000: Marilyn Minter, Peak-a-Boob (2020) at
Salon 94

$100,000: R.H. Quaytman’s Optima, Chapter
3 (2004-19) at Miguel Abreu Gallery

$95,000: Rodney Graham, Untitled (2020) at
Lisson Gallery

$70,000: A painting by Torkwase Dyson from 2020 at Pace

$60,000: Mary Heilmann, Hermosa
Sunset (2018) at Hauser &
Wirth

$65,000–125,000 each: Four paintings by Gladys Nilsson at Garth
Greenan

$65,000: Ian Davenport, Cadmium Yellow
Hue (2020) at Kasmin

$65,000: Jane Freilicher, Untitled (Forsythia and
Orange) (ca. 1970) at Kasmin

$55,000: Anj Smith, Flowerings of the Chocolate
Cosmos (2020) at Hauser &
Wirth

$45,000 each: Three paintings by David Robilliard at Ortuzar
Projects

$30,000: Mimi Gross, Gertrude and the Secretaries
(1974) at Eric
Firestone Gallery

$20,000–45,000 each: Six paintings by British artist Daniel
Crews-Chubb in his solo presentation with Timothy Taylor
Gallery

$25,000: Mimi Gross, The Men of Sears
Roebuck (1973) at Eric Firestone Gallery

$23,000: Elliott Puckette, Untitled (2015) at
Kasmin

$20,000–22,000 each: Two embroidered paintings by Kate Barbee at
Kohn Gallery

$20,000: Alake Shilling, Tickle Bug is Back in
Town (2020) at Salon 94

$14,800: Kaye Donachie, Be Lost
Forever (2020) at Maureen
Paley

$12,500: Alake Shilling, Untitled (2019) at
Salon
94

$12,500: A painting by Caroline Kent at Kohn Gallery

$12,000: Paul P, Untitled (2017) at Maureen
Paley

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the Frieze Art Fair’s Inaugural Online Viewing Room appeared
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