Pawn Stars: Rick Low Balls a Peter Max Painting | History

Pawn Stars: Rick Low Balls a Peter Max Painting | History


– Hey, how’s is going? Hey. How you doing? RICK HARRISON: I’m just
assuming it’s a Peter Max. [laughs] That it is. Pretty interesting. Peter Max has got a
really weird storied life, you know what I mean? This guy was born in
like Nazi Germany, but his family doesn’t go
to the states or England. They go to China. [laughs] WILLIE: The painting
is a Peter Max painting, originally painted in
2010, the “Statue of Liberty” series. I got the painting
from a family friend who actually got it
from Peter Max himself at an auction in New York. I’m looking to sell the
Peter Max painting to invest money into my new company. RICK HARRISON: Yeah,
I mean Peter Max, I mean, really interesting guy. You know, he started paintings
sort of like this in the ’60s. He loved comic books
when he was a kid. So that’s why he sort
of liked this art. And in the ’70s, he started
doing the Statue of Liberty. He worked with Lee Iacocca to
restore the Statue of Liberty, because literally
in the early ’80s, there was big gaping holes
in the Statue of Liberty. Because all things
made out of copper, and it really not
sealed or anything, and it just sort of
slowly falling apart. Peter Max has a very
distinctive style, and he’s still popular today. He’s done posters for the
Olympics, the Grammys, and a host of other things. His work has been known
to sell for over $100,000. If this thing is real, it will
be a great item in my shop. So you want to sell this? WILLIE: Yeah, I’m interested
in selling it, yeah. RICK HARRISON: How much were
you looking to get out of it? Based on what the market is,
I’m trying to get out $35,000. Whoa. I mean, it’s interesting. [sighs] This looks like it’s
an original and all that. You got paperwork for this? WILLIE: Yeah, I
do have paperwork. RICK HARRISON: OK. Let me have someone look at. I mean, the problem
with Peter Max is he has so much
stuff out there, OK? I’m not taking away– I mean he’s real– I mean, mega iconic. People absolutely love him. But I don’t know
exactly what the market is like at the moment. So can you hang out
for a little bit? Sure, absolutely.
RICK HARRISON: All right. I’m gonna go give
someone a call. OK. I think an expert
coming is great, and I’m looking forward to
what he thinks of the piece. RICK HARRISON: This
is it, the Peter Max. BRETT MALY: Peter Max. He’s one of those few artists
that when you see him, you know it’s a Peter Max. This is a nice work. He was also very much
into American jazz. And he was one of the
very first artists that would paint to music. He would actually
play the music, and you can see his
work even to this day has a real lyrical quality. You can almost imagine the jazz
music playing in the background as he applies the colors. Peter Max is a very
interesting artist. He’s probably the most
omnipresent artist you’ll find. His work can be found on
the side of cruise ships, on album covers, you name it. Ever since the ’60s,
he’s been identifiable for his semi-psychedelic
and just very fluid abstract compositions. What I’d like to do is
just take a closer look. I just want to see
maybe if it’s a printed base that he embellished
or if it’s completely one-of-a-kind work. A lot of times the image
of the Statue of Liberty would be a lithograph, and then
he would add dollops of acrylic on top of it. I don’t think that’s
the case with this one. I think the visage was
applied with a stencil, but I don’t think it’s a print. OK. BRETT MALY: And then,
he added the acrylic, all the different colors and the
embellishments around the side. So it’s definitely an
original, and it’s certainly a one-of-a-kind. OK. So I mean, what’s the
market on this thing? I just– because I know there’s
a lot of them out there. BRETT MALY: Right.
Right. Yeah. The good news is this is
a fairly iconic image. You know, the Statue of Liberty,
he’s identified for that. So that’s a good thing. The bad thing is, you know,
he’s done a lot of them. He’s probably done over
1,000 of these type of images over the course of his career. The other thing is
he’s still a living, working artist, so he’s
producing more of these as time goes on. In a gallery situation, you
might see this same work for $50,000, but
they’re so prevalent you might find the same work selling
for $10,000 on the internet. So that’s the conundrum. So I think an appropriate
value for a work like this would probably
be in the $25,000 range. RICK HARRISON: All right,
well, thanks man, Rick. Hey, it’s a pleasure.
RICK HARRISON: Appreciate it. – Willie, that’s a nice work.
– Thank you Nice to meet you. All right, thank you.
Nice meeting you. If the shop is able to negotiate
Peter Max, he’s a living icon, so I think they’re going
to have an audience for it here at the shop. RICK HARRISON: I
mean, what would be the best price you’d take? WILLIE: I’m pretty on
my $35,000 on price. I mean, I– it’s tough.
– Mhm. RICK HARRISON: [sighs] I
mean, I’ll give you $10,000. [sighs] I mean, he
said it’s worth $25,000. Can you do $15,000? I’ll go $12,000. WILLIE: [sighs] RICK HARRISON:
That’s cash money. You can walk out of here. I’m stuck with it. I hang it on my wall. And if it doesn’t
sell, it’s my problem, and you walk away with cash. All right. You got a deal. RICK HARRISON: Sweet, man. Follow me, and we’ll
do some paperwork. Sounds good.
RICK HARRISON: This way. WILLIE: I’m taking this
$12,000 offer because I think with those funds, I could
do some real things for my business that I want to do.

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