how much is a sunday on la grande jatte worth by georges seurat
Seurat’s palette consisted of the usual pigments of his time   such as cobalt blue, emerald green and vermilion. Additionally, Seurat used then new pigment zinc yellow (zinc chromate), predominantly for yellow highlights in the sunlit grass in the middle of the painting but also in mixtures with orange and blue pigments. In the century and more since the painting’s completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat’s lifetime.  The discoloration of the originally bright yellow zinc yellow (zinc chromate) to brownish color is due to the chemical reaction of the chromate ions to orange-colored dichromate ions.  In the third stage during 1888–89 Seurat added the colored borders to his composition.
According to historian of Modernism William R. Everdell:
In 1965, Dalí was scheduled to make a visit to the prison at Rikers Island to give an art lesson to inmates. But on the day the lesson was supposed to take place, sickness confined him to his New York hotel room, and he canceled. Instead, he made the prisoners a painting, a Surrealist take on the crucifixion of Jesus. The painting, unknown to the outside world, hung near a cafeteria trash can in the prison until the 1980s, when it was put away, then rehung near the prison’s entrance where the inmates couldn’t access it. That spot proved more dangerous than the ketchup-splattered wall by the trash cans—in 2003, a group of prison officers stole it, replacing it with a cheap imitation. The officers were prosecuted, but the painting was never recovered. One of the thieves pointed fingers at his conspirator, an assistant deputy warden named Benny Nuzzo, saying that Nuzzo panicked and destroyed the painting after they committed the crime.
Breton and his supporters were offended by Dalí’s depiction of Lenin in his 1933 work The Enigma of William Tell, as well as by the fascination he expressed for Hitler, who he later said “turned him on.” Furthermore, he had painted a swastika on the armband of the nurse in his painting The Weaning of Furniture-Nutrition, a detail his fellow Surrealists forced him to paint over.
Skyrocketing of the artistic value of a large canvas owned by the Art institute of Chicago over the brief period of ten years recently led officials of the institution, it was learned yesterday, to refuse a French syndicate’s offer to buy back for $400,000 a painting purchased in Paris in 1920 by Mr. and Mrs. Frederick Clay Bartlett for $20,000. The picture is the work of Georges Seurat, and is known as “Sunday Afternoon on the Grande Jatte.” (sic)
The woman’s son, who was delicate, fell ill, and the doctors said his only chance was a long stay in the south of France. The painting by Seurat offered her the only opportunity to raise the funds for the journey, and she decided to part with it. A rumor of her predicament came to the Bartletts and they hastily returned to Paris. They arrived late one night and sat up most of the remaining hours discussing ways and means of finding the money to pay the woman’s price.
The largest sum previously paid for a Seurat painting was $2.7 million in a 1996 auction, for a landscape called “Le Chenal.”
Mrs. Whitney bequeathed art worth more than $300 million to four museums and the rest to her two daughters, who decided to sell many works to pay estate taxes.
Georges Seurat, Sunday at La Grand Jatte, 1884, Art Institute of Chicago, detail
Known as croquetons—literally ‘sketchettes’—Seurat’s studies were all made on small wooden panels. Extraordinarily proud of them, he hung many in his studio. He also exhibited them regularly, demonstrating the significance he felt they had in his oeuvre. Seurat called the panels his ‘constant joy’.