Saturday, November 23, 2013


After a long delay, PETER has managed to publish his latest book "The Universe of PETER MAX", and I believe the only one in 11 years after the Big Book.

It's full of excellent images, not very good quality prints, and the usual history and quotes by the artist, which basically refreshes the memory of many who knows it by heart, and perhaps some young inquisitive mind (pretty scarce lately!).

All in all it's OK, and pretty much proves that besides the new marketing Branding by the Studio, PETER is the heart and soul of the Sixties and Seventies.

Friday, October 11, 2013

Marilyn, Max and other 2013 considerations

Adam and Libra, Peter´s children are doing a great job revamping the studio and piggy backing on his name. It´s logical and practical. Now Peter can take a break and let them use the Warhol Foundation model. So there will be Peter max for at least another generation. Whoever has original canvases pre-2011, has the real deal... cherish them.

The Marilyn Collection

From their web site:

"The Foundation has used its ownership of the copyright to Warhol images as an opportunity to craft creative and responsible licensing policies that are friendly to scholars and artists wishing to use Warhol images for educational and creative purposes, and profitable to the Foundation when the images are used for commercial purposes. Revenues from licensing agreements add significantly to those earned through the continued sale of work from the Foundation’s remaining art collection, enabling the Foundation to build the endowment from which it makes cash grants to arts organizations around the country."

Fortunately, PETER MAX is still alive but probably at 75 years of age cannot sustain the prolific production of his early career. His children have boarded the Max Studio company in New York sometimes in the last 2 years, and with Peter's consent and signature, are probably doing creative projects such as the Marylin and others. This obviously leads to a basic confounding question , who is doing the hand painted canvases or the Mixed media at such a fast production pace? 

To assure Provenance I suggest that MAX's items, especially expensive canvases, should be purchased in the presence of Peter himself  (photo with him mandatory!) to prevent obtaining counterfeited and illegal copies. Not even authorized art galleries sometimes can guarantee the source of MAX's artwork and the original production of the piece, unless he's present and an image with the Artist and the artwork is accompanied,  or a written validation of the Serial Number obtained DIRECTLY from the main office in New York, sometimes known as the Atelier or PETER MAX Studio . Certificates and invoices can be easily forged, therefore a direct response form Peter's office is recommended. Every important piece has a serial number in the back, and it must match the exact image on file. I have personal experience to share, you can send me an e-mail at


Saturday, October 5, 2013

My good friend Frank Llamozas gave me this uncommon PETER MAX collectible item. A giant matches booklet (Used) from the NIRVANA restaurant in New York, circa 1970. Already out of service, was located on the Rooftop of 30 Central Park South. I am sure Peter was a frequent guest at that location.

 Location across Central Park, New York.

Thursday, September 19, 2013


I don't think PETER is doing any more artworks personally, but his studio is doing a great job under his (or his heirs) supervision, a bit like the Andy Warhol's Foundation.

This is The HILTON HEAD Magazine, September 2013 issue:

Wednesday, May 15, 2013


This is a pretty uncommon object: a Metal alloy buckle belt made circa 1970
Received May 14th 2013

Friday, April 26, 2013


facebook page 

Clapton’s Fool started life as an SG. For many years, some speculated it was a ’61 SG/Les Paul, but the proper view came to be that it is a ’64. A primary bit of evidence is the pickguard, which has six screws as the later years’ pickguards do, rather than the earlier five screws, as was standard on the ’61 SG/Les Paul. In addition, it has patent-number pickups, not the earlier “Patent Applied For” pickups Gibson ceased using circa 1962. The guitar was purportedly originally owned by Beatle George Harrison, who gave it to Clapton circa ’65, after Clapton’s ’59 Standard that he had been using in Cream was stolen. 

In ’66, Cream was making plans to go to the United States the following year – 1967 – the year of “the Summer of Love.” Murray the K, the WOR-FM disk jockey in New York, was organizing a week-long, never-to-be-seen-again, all-stars/all-hits revue. Cream knew its debut had to have maximum impact on their new American audiences, so they enlisted the help of a pair of then-obscure Dutch designers who later became an art group known as The Fool, who were to play an important role, in rock and roll, and more broadly, in the psychedelic culture of the late ’60s.

Video of Clapton describing the Gibson SG 64 Eric playing The Fool with  The Fool Collective artwork:

The Fool began with two members, but eventually grew into a collective; its core members were Simon (a.k.a. Seemon) Posthuma, Marijke Koger, and eventually, Josje Leeger, Koger’s art-school friend. Others, particularly photographer Karl Ferris and Barry Finch, were also associated with the group. Posthuma and Koger, who met circa 1961 and a few years later began participating an “alternative” Amsterdam boutique called Trend, were living on the island of Ibiza (off the coast of Spain) before relocating to London in early ’66 with a grant from the Von Pallandt Foundation.

Eric loaned the Guitar to "Jackie Lomax" a songwriter known mostly for the song he wrote for Eric Burdon of  "The Animals". The song  was covered by another great group "Grand Funk Railroad"  Grand Funk had the hit with it 10 years later "Inside Lookin' Out". I'm not sure just how long Jackie had the guitar in his possession but in 1972 he SOLD the guitar to "Todd Rundgren"  for an undisclosed sum of money. ( Eric never gave him the guitar he just loaned it to him).

Todd has had the guitar for more than 28 years.  He has used it on a lot of studio tracks.  Todd finally did sell it to an undisclosed collector.

Today, the original guitar is in possession of an undisclosed collector, nowhere to be seen. It's still a beauty and a solid example of the artworks that flourished during the Sixties:


  images by Karl Ferris circa 1967