A mirror that Michael Jackson looked into as he dressed in his final months and onto which he scribbled a message to himself sold for $18,750 at auction in Beverly Hills this weekend.
Julien's Auctions sold 524 items that furnished the 100 North Carolwood mansion in Los Angeles' Holmby Hills neighborhood, significant because it was where Jackson and his three children lived in the months before his death. Jackson did not own the furnishings.
Some items brought higher prices because of their infamy in crime scene photos shown in this year's trial of Jackson's doctor, Conrad Murray, but others were valuable because Jackson and his family left their mark on them.
A chalkboard may have cost a few hundred dollars, but it sold for $5,000 because of what his children wrote on it. The note, handwritten on the black board attached to a 26-inch-tall ceramic rooster, reads "love Daddy/ I (heart) Daddy/ Smile it's for free."
It sat in the kitchen where Jackson would eat lunch each day with Prince, Paris and Blanket Jackson. It was not known which child wrote the chalk note, but Julien's Executive Director Martin Nolan said his research suggested it was from Paris, who was 11 when her father died.
The mirror with a message is on a Victorian-revival-style armoire from Jackson's master bedroom, presumably where Jackson looked each day as he dressed. He used a wax pencil to remind himself: "Train, perfection March April Full out May."
The note is significant, considering that Jackson was battling the calendar as he prepared for his "This Is It" concerts set to premiere in London in July 2009.
Dr. Murray's defense lawyers argued during the trial that the intense pressure on Jackson to rehearse for the 50 shows put him in a desperate fight for sleep, which led to Murray administering the surgical anesthetic propofol nearly every night in the last two months of his life.
Murray was sentenced last month to four years in the Los Angeles County jail for involuntary manslaughter in Jackson's June 25, 2009 death.
Other items were macabre, not inspirational.
A small table that sat next to the bed where Jackson spent his last living hours in a desperate search for sleep sold for $5,000. The "French occasional table" was listed for between $300 and $500. It was a centerpiece of several key crime scene photos at Murray's trial, because several bottles of sedatives were found on it.
The oriental rug on which paramedics tried to revive Jackson sold for $15,360, although the auction catalog placed its value at between $400 and $600. It, also, is prominent on photos shown at the trial.
Julien's backed away from selling the bed in which Jackson received the fatal dose of the propofol after a personal request from his mother, Katherine Jackson, Nolan said.
The auction house's re-creation of the bedroom where Jackson died -- euphemistically called "the medicine room" by the company -- features a bed-sized memorial covered with love notes from Jackson fans instead of the death bed.
The most expensive items sold were a $35,200 watercolor painting of floral still life by Maurice Utrillo and a $46,875 oil painting of fishing village by Adelsteen Normann.
Jackson's relationship with Julien's turned sour in the last months of his life when he filed a lawsuit to stop the sale of furnishings from his Neverland ranch.
The singer sued the auction company, claiming he did not authorize the sale of items that were removed from Neverland after he sold the ranch. The suit was settled in April 2009 when Julien's canceled the auction and later returned the items to Jackson.
2011年9月27日星期二
Rave scene alive in “Kids With Candy”
Art show Kids With Candy opened Friday with house and electro music booming with surrounding vivid portraits of today’s rave scene.
Jennifer Takeda, 23, a drawing and painting major, opened her eclectic show to music that inspired her days in the rave scene growing up.
DJs Jake Liu and Mike Good were on hand spinning tunes that kept attendees entertained. Liu exclaimed that he “loved Jen’s art show.” With bright colors and animated subjects in her work, it was clear that many observers enjoyed her gallery as well.
Takeda explained that these paintings were “portraits of people in the rave scene and the candy bracelets signify the culture.” Raves that Takeda attended and drew creativity from were the Electric Daisy Carnival, Beyond Wonderland and Perish Parties at Vanguard.
“Her artwork was very expressive and intriguing,” said Good. Showcasing attention to detail and dazzling hues, Takeda displayed to the crowd how exciting the raves were.
“This is my story, a nocturnal adventure filled with dancing, lights and effervescent sounds,” Takeda cited in her artist statement. The congregated art crowd couldn’t help but admire her lust for the rave scene. She also talked about how raves have assembled bits and pieces of who she is today.
“In this place, I have made some of my best friends, worst enemies and everything in between. This collection illustrates my journey through this world and the people who have shaped it into what it is,” Takeda said.
The powerful and realistic paintings of people having fun amid the glowing lights and deep house beats is what enticed spectators to examine the vibrant images at Kids with Candy.
Some of Takeda’s favorite artists are Takashi Murakami, Banksy and Caravaggio. These three artists stimulate her originality to paint representations of people she encounters. Her art is reminiscent of an urbanized style, along with techniques of incorporating flat color as well as blending. The media used were oil paints and acrylics.
Stephanie Santos, another childhood friend of Takeda’s since junior high, said, “Her artwork is really detailed.” Takeda’s reproduction of lifelike portraits of rave participants were striking and impressive. As an accomplished artist, she portrayed the rave scene with exceptional precision.
Many spectators were taken on a journey to some of the biggest raves with an inside look by Takeda’s passion of lights and music. In her statement, Takeda summed up her gallery by stating that raves are a “place where peace, love, unity and respect reign supreme and for one night, we all can come together, be best friends and care for nothing but the fantastic moment we are immersed in.”
Jennifer Takeda, 23, a drawing and painting major, opened her eclectic show to music that inspired her days in the rave scene growing up.
DJs Jake Liu and Mike Good were on hand spinning tunes that kept attendees entertained. Liu exclaimed that he “loved Jen’s art show.” With bright colors and animated subjects in her work, it was clear that many observers enjoyed her gallery as well.
Takeda explained that these paintings were “portraits of people in the rave scene and the candy bracelets signify the culture.” Raves that Takeda attended and drew creativity from were the Electric Daisy Carnival, Beyond Wonderland and Perish Parties at Vanguard.
“Her artwork was very expressive and intriguing,” said Good. Showcasing attention to detail and dazzling hues, Takeda displayed to the crowd how exciting the raves were.
“This is my story, a nocturnal adventure filled with dancing, lights and effervescent sounds,” Takeda cited in her artist statement. The congregated art crowd couldn’t help but admire her lust for the rave scene. She also talked about how raves have assembled bits and pieces of who she is today.
“In this place, I have made some of my best friends, worst enemies and everything in between. This collection illustrates my journey through this world and the people who have shaped it into what it is,” Takeda said.
The powerful and realistic paintings of people having fun amid the glowing lights and deep house beats is what enticed spectators to examine the vibrant images at Kids with Candy.
Some of Takeda’s favorite artists are Takashi Murakami, Banksy and Caravaggio. These three artists stimulate her originality to paint representations of people she encounters. Her art is reminiscent of an urbanized style, along with techniques of incorporating flat color as well as blending. The media used were oil paints and acrylics.
Stephanie Santos, another childhood friend of Takeda’s since junior high, said, “Her artwork is really detailed.” Takeda’s reproduction of lifelike portraits of rave participants were striking and impressive. As an accomplished artist, she portrayed the rave scene with exceptional precision.
Many spectators were taken on a journey to some of the biggest raves with an inside look by Takeda’s passion of lights and music. In her statement, Takeda summed up her gallery by stating that raves are a “place where peace, love, unity and respect reign supreme and for one night, we all can come together, be best friends and care for nothing but the fantastic moment we are immersed in.”
2011年8月21日星期日
Plainfield architect Donald Ross' journey had humble beginnings in Boston
The journey of Donald Ross ends on a steep slope in Section J, Lot 294 of the Newton Cemetery.
Architect of nearly 400 golf courses, he was buried in this sleepy corner of suburban Boston 63 years ago, underneath a large granite headstone with his last name boldly etched onto the front. It’s butted up against an oversized bush and within the shadowy grasps of the slender oak tree on the top of the hill. The woman at the front desk of the cemetery’s administrative offices says that normally there are trinkets left behind by visitors — a hat, a golf ball, a scorecard.
On a recent sunny afternoon, there are none.
Perhaps it’s more appropriate that way. These days, the mere mention of the name “Donald Ross” is tribute enough. His courses have hosted U.S. Opens, PGA Championships, Ryder Cups and countless amateur and local events. This week — at Plainfield Country Club in Edison — the first leg of the PGA Tour’s FedEx Cup Playoffs, The Barclays, will be added to that list.
But while each one of the 125 players in the field will walk past the Donald Ross plaque on the first tee, the thought of how the journey to this site happened will barely be a blip in their minds.
Because while Ross’ legend has grown with places like Pinehurst in North Carolina, Aronimink Golf Club in suburban Philadelphia and Seminole Golf Club on the shores of Juno Beach, Fla., it began in and around his final resting place.
An immigrant from Scotland, he came over to the country with his life savings in hopes of building a life in golf. Instead, he became a legend.
This is the story of how that happened.
Architect of nearly 400 golf courses, he was buried in this sleepy corner of suburban Boston 63 years ago, underneath a large granite headstone with his last name boldly etched onto the front. It’s butted up against an oversized bush and within the shadowy grasps of the slender oak tree on the top of the hill. The woman at the front desk of the cemetery’s administrative offices says that normally there are trinkets left behind by visitors — a hat, a golf ball, a scorecard.
On a recent sunny afternoon, there are none.
Perhaps it’s more appropriate that way. These days, the mere mention of the name “Donald Ross” is tribute enough. His courses have hosted U.S. Opens, PGA Championships, Ryder Cups and countless amateur and local events. This week — at Plainfield Country Club in Edison — the first leg of the PGA Tour’s FedEx Cup Playoffs, The Barclays, will be added to that list.
But while each one of the 125 players in the field will walk past the Donald Ross plaque on the first tee, the thought of how the journey to this site happened will barely be a blip in their minds.
Because while Ross’ legend has grown with places like Pinehurst in North Carolina, Aronimink Golf Club in suburban Philadelphia and Seminole Golf Club on the shores of Juno Beach, Fla., it began in and around his final resting place.
An immigrant from Scotland, he came over to the country with his life savings in hopes of building a life in golf. Instead, he became a legend.
This is the story of how that happened.
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