Andy Collins Paintings & Artwork for Sale | Andy Collins Art Value Price Guide

Jul. 10, 2024
Andy Collins (b. 1971): Untitled
Est: $500 - $700
Oil and alkyd on canvas, 2003, signed "Andy Collins" and dated on the reverse, with label from Marc Foxx, LA. 48 x 51 in., unframed.
STAIR
Jul. 10, 2024
Andy Collins (b. 1971): Untitled
Est: $700 - $900
Oil on canvas, 2001, signed "Andy Collins" and dated on the reverse, with label from Mary Boone Gallery, NY. 55 1/2 x 57 in., unframed.
STAIR
Jun. 05, 2024
Andy Collins (b. 1971): Untitled
Est: $600 - $800
Oil and alkyd on canvas, 2005, signed 'Andy Collins' and dated on the reverse, with label from Corvei-Mora, London. 59 x 54 in., unframed.
STAIR
Jun. 05, 2024
Andy Collins (b. 1971): Untitled
Est: $700 - $900
Oil and alkyd on canvas, 2001, signed 'Andy Collins' and dated on the reverse, with label from Lucas Schoormans, NY and Mary Boone Gallery, NY. 68 x 66 in., unframed.
STAIR
Feb. 24, 2022
ANDY COLLINS (AMERICAN B. 1971)
Est: £400 - £600
ANDY COLLINS (AMERICAN B. 1971) ANDY COLLINS (AMERICAN B. 1971) Untitled (grey) 2005 oil and alyd on canvas 183 x 162.5 cm
Chiswick Auctions
Feb. 24, 2022
ANDY COLLINS (AMERICAN B. 1971)
Est: £400 - £600
ANDY COLLINS (AMERICAN B. 1971) ANDY COLLINS (AMERICAN B. 1971) Untitled (yellow) 2005 oil and alyd on canvas 152 x 147 cm
Chiswick Auctions
Nov. 03, 2021
ANDY COLLINS (AMERICAN B. 1971)
Est: £500 - £700
ANDY COLLINS (AMERICAN B. 1971) ANDY COLLINS (AMERICAN B. 1971) Untitled 1998 signed and dated ANDY COLLINS, 1998 (on the reverse) oil on canvas 115 x 115 cm unframed Provenance: Mary Boone, New York Acquired from the above by the present owner, 2005 Exhibited: Abstract America: New Painting And Sculpture, Saatchi Gallery, London, 29 May 2009 - 17 January 2010 Andy Collins, Mary Boone, New York, 6 October - 29 October 2005 Description: Saatchi Gallery website â âAndy Collinsâs paintings are lusciously synthetic. Cold and glossy, his large pastel canvases are suffocating vacuums of glamour. Working from fashion photos, Collinsâs abstracted forms are derived from the overlooked in-between spaces of supermodel spreads. Folds in fabric, creases in elbows, knees and armpits become a pattern of fetishised contemplation. Their contours are retraced and suggested forms are embellished, creating ethereal motifs that are both organic and electrifying. Collinsâs process is one of almost perverse fixation. Taking several months to complete a painting, he painstakingly constructs his airless forms entirely by hand, leaving no trace of brushwork. In Untitled, his biomorphic composition, a sublime vacuous beauty, mesmerises both seduction and emptiness. Andy Collinsâs paintings glow with a transcendental eroticism, bringing about a heightened state of awareness where physical sensuality courts cerebral enlightenment. Inspired by the prurience of fashion adverts, Untitledâs composition construes desireâs lingering remains as a Rorschach-like distortion; a mandala of allurement and absence. Collins conceives overwhelming sensation as an intangible void; his paintings resonate with a voyeuristic proclivity. Equally intimate and distant, his obsessive process (of up to 30 layers of seamless application) infuses his smooth surface with a slick confidence. Andy Collinsâs paintings manufacture a hermetically sealed aesthetic, offering a deceptive brand of pop. In Untitled, benign-toned colour fields sit with antiseptic perfection, their plastic forms fade in and out of soft-porn focus, pulsating from the contoured motif. In hand-rendering the trappings of superficial attraction, Collins serves up clinical beauty with a fine strategic awareness. Fluctuating between the mechanical and biological, Collins evokes an unsettling hybrid: a calculating and corporate detachment born of the most intimate sentiment. Andy Collins's paintings are models of visual perfection. Approaching painting with a minimalist's fetishism, Collins hones his canvases to the simplest and boldest statements to capitalise on the power of suggested form. Working from photos, Andy Collins removes the subject, focussing instead on the evocative possibility of implied image. His abstracted patterns retain the essence of their original picture, and extrapolate a more complex interpretation, provoking emotional and spiritual reactions to qualities of surface, colour and composition. In Untitled, Andy Collins presents a pattern of mesmerising consonance. His biomorphic form insinuates bodily tactility; through clinical rendering, Andy Collins elevates these connotations to a metaphysical plane, creating a sensuality that's idealistic and conceptually pure. Combining both the spiritualism of abstract painting with the sublime numbness of mass media reproduction, Andy Collins infuses Untitled with a divine aura. Reminiscent of religious painting, Collinsâs blues and golds evaporate into halos of blinding white radiance. Space becomes the focus of Collinsâs painting. Suggestive of a topographical map, his forms waver with entropic energy, condensing and expanding in their abstracted plane Andy Collinsâs abstract paintings flirt between the intellect of formalist perfection and the frivolity of high-gloss design. In Untitled, Collinsâs jagged pattern tears through his canvas with cartoon violence, suggestive of teeth, geological landscapes or seismological graphs. Effusing his form with a toxic glow, Collins subtly shifts the concentrated flatness of his image to a dynamic element of intrigue. His seamless brushwork renders this painting flawless. This controlled craftsmanship adds depth to the generic aesthetic of mass production. Andy Collins develops his forms from the sensuous suggestion of magazine layouts: tracing the gaps created by necklines, folded knees and flirtatious ripples in fabric. His paintings reproduce the sexual frisson of glimpsing up a skirt, the electric fixation of imagining what lies beneath. Through his intensive painting process, Collins's titillating forms melt into mesmerising abstractions. Contemplation of negative space takes metaphysical form, a knowledge gained not only from seeing, but experiencing silky textures and promising depths. Through the physicality of making, Collinsâs figurative subjects are expressed in abstract fields, as synthetic and emotionally distant as his sources.â
Chiswick Auctions
Jun. 11, 2021
ANDY COLLINS (AMERICAN B. 1971)
Est: £400 - £600
ANDY COLLINS (AMERICAN B. 1971) ANDY COLLINS (AMERICAN B. 1971) Untitled 2001 signed and dated ANDY COLLINS 2001 (on the reverse) oil and alkyd on canvas 127 x 134.5cm Provenance: Irena Hochman Fine Art Ltd, New York Acquired directly from the above by the present owner, 2005 Exhibition History: Abstract America: New Painting And Sculpture, Saatchi Gallery, London, 2009 Literature: Abstract America: New Painting And Sculpture, exh. Cat. Saatchi Gallery, London, 2009, pp.11 (illustrated in colour)
Chiswick Auctions
Jun. 02, 2021
Andy Collins (b. 1971): Untitled
Est: $800 - $1,200
Pencil and colored pencil on paper, 2004, presumably signed 'Andy Collins' and dated on the reverse, with label from Greenberg Van Doren Gallery, NY. 20 x 17 3/4 in. (sheet), 22 x 20 in. (frame). A Contemporary Vision: Works from the Melva Bucksbaum Collection Sold to Benefit Art for Access at Bennington College
STAIR
Jun. 02, 2021
Andy Collins (b. 1971): Untitled
Est: $800 - $1,200
Pencil and colored pencil on paper, 2004, presumably signed and dated on the reverse, with label from Greenberg Van Doren Gallery, NY. 17 3/4 x 16 1/2 in. (sheet), 20 x 18 3/4 in. (frame). A Contemporary Vision: Works from the Melva Bucksbaum Collection Sold to Benefit Art for Access at Bennington College
STAIR
Mar. 22, 2021
ANDY COLLINS (B. 1971, ATLANTA, GEORGIA)
Est: £800 - £1,200
ANDY COLLINS (B. 1971, ATLANTA, GEORGIA) Untitled 1998 Oil on Canvas 115 x 115 x 5 cm Provenance: Mary Boone, New York Acquired from the above by the present owner, 2005 Description: Saatchi Gallery website – “Andy Collins’s paintings are lusciously synthetic. Cold and glossy, his large pastel canvases are suffocating vacuums of glamour. Working from fashion photos, Collins’s abstracted forms are derived from the overlooked in-between spaces of supermodel spreads. Folds in fabric, creases in elbows, knees and armpits become a pattern of fetishised contemplation. Their contours are retraced and suggested forms are embellished, creating ethereal motifs that are both organic and electrifying. Collins’s process is one of almost perverse fixation. Taking several months to complete a painting, he painstakingly constructs his airless forms entirely by hand, leaving no trace of brushwork. In Untitled, his biomorphic composition, a sublime vacuous beauty, mesmerises both seduction and emptiness. Andy Collins’s paintings glow with a transcendental eroticism, bringing about a heightened state of awareness where physical sensuality courts cerebral enlightenment. Inspired by the prurience of fashion adverts, Untitled’s composition construes desire’s lingering remains as a Rorschach-like distortion; a mandala of allurement and absence. Collins conceives overwhelming sensation as an intangible void; his paintings resonate with a voyeuristic proclivity. Equally intimate and distant, his obsessive process (of up to 30 layers of seamless application) infuses his smooth surface with a slick confidence. Andy Collins’s paintings manufacture a hermetically sealed aesthetic, offering a deceptive brand of pop. In Untitled, benign-toned colour fields sit with antiseptic perfection, their plastic forms fade in and out of soft-porn focus, pulsating from the contoured motif. In hand-rendering the trappings of superficial attraction, Collins serves up clinical beauty with a fine strategic awareness. Fluctuating between the mechanical and biological, Collins evokes an unsettling hybrid: a calculating and corporate detachment born of the most intimate sentiment. Andy Collins's paintings are models of visual perfection. Approaching painting with a minimalist's fetishism, Collins hones his canvases to the simplest and boldest statements to capitalise on the power of suggested form. Working from photos, Andy Collins removes the subject, focussing instead on the evocative possibility of implied image. His abstracted patterns retain the essence of their original picture, and extrapolate a more complex interpretation, provoking emotional and spiritual reactions to qualities of surface, colour and composition. In Untitled, Andy Collins presents a pattern of mesmerising consonance. His biomorphic form insinuates bodily tactility; through clinical rendering, Andy Collins elevates these connotations to a metaphysical plane, creating a sensuality that's idealistic and conceptually pure. Combining both the spiritualism of abstract painting with the sublime numbness of mass media reproduction, Andy Collins infuses Untitled with a divine aura. Reminiscent of religious painting, Collins’s blues and golds evaporate into halos of blinding white radiance. Space becomes the focus of Collins’s painting. Suggestive of a topographical map, his forms waver with entropic energy, condensing and expanding in their abstracted plane Andy Collins’s abstract paintings flirt between the intellect of formalist perfection and the frivolity of high-gloss design. In Untitled, Collins’s jagged pattern tears through his canvas with cartoon violence, suggestive of teeth, geological landscapes or seismological graphs. Effusing his form with a toxic glow, Collins subtly shifts the concentrated flatness of his image to a dynamic element of intrigue. His seamless brushwork renders this painting flawless. This controlled craftsmanship adds depth to the generic aesthetic of mass production. Andy Collins develops his forms from the sensuous suggestion of magazine layouts: tracing the gaps created by necklines, folded knees and flirtatious ripples in fabric. His paintings reproduce the sexual frisson of glimpsing up a skirt, the electric fixation of imagining what lies beneath. Through his intensive painting process, Collins's titillating forms melt into mesmerising abstractions. Contemplation of negative space takes metaphysical form, a knowledge gained not only from seeing, but experiencing silky textures and promising depths. Through the physicality of making, Collins’s figurative subjects are expressed in abstract fields, as synthetic and emotionally distant as his sources.”
Chiswick Auctions
Sep. 26, 2019
Andy Collins (American, b. 1971) Untitled , 2003
Est: $3,000 - $5,000
Andy Collins (American, b. 1971) Untitled , 2003 oil and alkyd on canvas signed Andy Collins and dated (verso) 80 1/4 x 76 inches.
Hindman
Dec. 04, 2018
An artwork in motion by Andy Collins
Est: €3,000 - €5,000
- COLLINS, Andy (American 1971). Untitled, 1999. Blue alkyd over red oil on canvas, signed and dated 'Andy Collins 1999' (on the reverse). Decorative craquelure through the alkyd layers with paint flaking and losses, minor surface grime to the oil layer, which remains slightly wet and sticky due to the artist's technique.
Adams Amsterdam Auctions
Sep. 24, 2015
Andy Collins Untitled
Est: $4,000 - $6,000
Andy Collins Untitled USA, 2001 oil and alkyd on canvas 72 h x 73 w inches Signed and dated to verso 'Andy Collins 2001'. Provenance: Marc Foxx Gallery, Los Angeles | Private collection
Wright
Jun. 10, 2015
Andy Collins American, b. 1971 Untitled, 2004
Est: $4,000 - $6,000
Andy Collins American, b. 1971 Untitled, 2004 Signed Andy Collins and dated 2004 on the reverse Oil and alkyd on canvas 64 x 62 inches Unframed Provenance: Greenberg Van Doren Gallery, New York C
DOYLE Auctioneers & Appraisers
Mar. 06, 2015
Andy Collins (b. 1971) Untitled oil and alkyd on canvas 68 x 74 in. (172.7
Est: $4,000 - $6,000
Andy Collins (b. 1971) Untitled oil and alkyd on canvas 68 x 74 in. (172.7 x 187.9 cm.)
Christie's
May. 13, 2011
ANDY COLLINS
Est: $4,000 - $6,000
Untitled
Phillips
Mar. 31, 2008
Contemporary Art: ANDY COLLINS Untitled, 2000
Est: $6,000 - $8,000
Contemporary Art: ANDY COLLINS Untitled, 2000
Phillips