Art Miami 2018December 4 - 9, 2018

FERNAND LEGERDeauville la Sieste1950Gouache, watercolour and ink on paper11.25 x 15 in28 x 38 cmInquire About This WorkEnquire About This Work

In 1950 Fernand Léger painted a series of beach scenes at Deauville which were exhibited at Galerie Louis Carré in Paris in an exhibition entitled ‘Deauville vu par Fernand Léger'.

Provenance:
Galerie Louis Carré, Paris;
Svensk Franska Konstgalleriet, Stockholm;
Gallery Bengtsson, Stockholm

Exhibited:
Paris, Galerie Louis Carré, ‘Deauville vu par Fernand Léger', 1950;
Stockholm, Galerie Blanche, ‘Franskkonst', January 1951, cat no 31;
Stockholm, Svensk Franska Kontsgalleriet, 11-29 March 1961, cat no 21

HENRI MATISSECorbeille d’ananas et fruits1926Charcoal on paper19 x 25 in48 x 62.5 cmInquire About This WorkEnquire About This Work

Provenance:
Pierre Matisse, thence by descent;
Private collection, UK

Literature:
Pierre Schneider, 'Matisse', London, 1984, illustrated p. 38

WILLEM DE KOONINGPink Woman1964Oil and pastel on paper laid on board10 x 11 in.25.5 x 28 cmInquire About This WorkEnquire About This Work

Unlike the majority of his fellow Abstract Expressionists, De Kooning often retained a figurative element to his work, and there are interpretations and reflections of nature even in his great abstract series of ‘Untitled’ works from 1977, considered his best year and when his top price at auction of $66million was painted. De Kooning executed very many works in the late 1940s, through the 1950s and early 1960s with the word ‘Woman’ in the title. The top price at auction for such a title is over $19m, for an oil just 28 x 20 inches, and the top 7 prices for any work on paper, starting at $6.4m for a work 8 x 6 inches, are for those with ‘Woman’ in the title.
He already had an established career when he started on his Woman series. These paintings, of buxom, vampish females, knotted up in swathes of abstraction, took detours from earlier ladylike forms into a new and violent direction. “If the facial and anatomical distortions of these figures reveal a kinship with Picasso’s famous series of paintings of Dora Maar, de Kooning’s handling of the figure within the space is far more fluid and energized than the rational geometry of Picasso’s Cubist interior spaces,” Judith Zilczer writes in her Phaidon book.

Provenance:
Private Collection, NY
Solomon & Co, NY
Barbara Annis Fine Art, NY,
acquired from above in 1997 by a Palm Beach client
Barbara Annis Fine Art, NY, acquired by present owner in 2014

ANDY WARHOLMarilyn Monroe1967screenprint on paper6 x 6 in15 x 15 cmInquire About This WorkEnquire About This Work

PROVENANCE:
Private collection, New York
Collection of Ira and Toni Genstein, Philadelphia
Acquired directly from the artist
LITERATURE:
F. Feldman & J. Schellman, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, No. 121, illustrated

MAN RAYL'AstrolabeConceived in 1957; this version assembled by 1966 Brass, copper, painted steel and magnifying glass on a wooden base27 x 26.5 x 8 in including base69 x 67 x 20 cm including baseInquire About This WorkEnquire About This Work

Wooden base measures 3.5 x 21.5 x 8 in. (9 x 55 x 20.5 cm)

Provenance
Cordier & Ekstrom, Inc., New York (by 1966).
Christie's New York, 5th May 2011

Exhibitions
Los Angeles 1966 (Los Angeles County Museum of Art, Lytton Gallery), Man Ray, cat. nr. 167

Literature
Jules Langsner, Man Ray, exhibition cat. Los Angeles County Museum of Art, Berlin 1966, cat. nr. 167 with ill. p. 137;
Arturo Schwarz, Man Ray, München 1980 (First ed: Man Ray. The Rigour of Imagination, London 1977), p. 234, ill. nr. 345 p. 220;
Jean-Hubert Martin, Man Ray. Objets de Mon Affection, Paris 1983, with ill. p. 100

ROBERT RAUSCHENBERGUntitled 75.090 (from the Hoarfrost Series)1975Solvent transfer and paper bags on fabric90 x 51 in228 x 130 cmInquire About This WorkEnquire About This Work

Robert Rauschenberg’s career remains among one of the most varied and unique to emerge from the Post-War American art scene. He played an instrumental role in redefining the trajectory of American art, building on the legacies of European Dadaists including Duchamp and Schwitters. The Hoarfrost series signalled a departure from his original method of image making, forging a new type of artistic practice that captured the ephemeral, the fleeting and the transitory. Untiled 75.090 captures Rauschenberg’s characteristic tendency towards the use of imagery cut from newspapers, advertisements and photographs which are playfully arranged on fabric via solvent transfer. Featured in Preview (Hoarfrost Edition), the car motif on the left of the earlier work is used once again but this time it’s been cut in half and the right half turned 180 degrees, creating a subtle distortion. The use of diaphanous sheets of fabric and the loose hanging of the work allow for delicate shifts in movement. The inclusion of everyday ephemera including paper bags, newspaper cuttings and photographs further reinforces the transience that Rauschenberg sought to explore in the series as well as investigating the nature of the veiled or obscured image.
The series not only represents a variation in Rauschenberg’s technical practice but also reflects his changing circumstances. In 1970 he relocated from the bustling streets of Lower Manhattan to the peaceful seclusion of Captiva Island, instigating a passage in his career that combined those stylistic innovations integral to his work from previous decades with a technique that was altogether freer and more liberated.

Provenance
Acquired from the artist by a
Private Collector in Florida;
James Goodman Gallery, 1988;
Private Collector, Toronto, purchased
through Gallery Moos, NY, 1990, for $132,000.

ROBERT RAUSCHENBERGRush 17 (Cloister Series)1980Solvent transfer on paper and fabric on panel98 x 74 in.249 x 188 cm Inquire About This WorkEnquire About This Work

Provenance:
Gagosian Gallery
Christie's New York, November 16, 2006, Lot 229
Private Collection, New York City
Private Collection, Connecticut

FRANK STELLAK. 17 (Lattice Variation)2008Stainless steel and spray painted Alumide RPT24 x 28 x 17 in60 x 71 x 43 cmInquire About This WorkEnquire About This Work

Provenance:
Private collection, New York

Literature:
J. Dorfman, "Working in Space", 'Art & Antiques Magazine', October 2013, p. 82, illustrated

Exhibited:
New Canaan, The Philip Johnson Glass House, 'Frank Stella: Scarlatti Kirkpatrick', September-November 2012;
London, Simon Dickinson, 'Forms of Abstraction: American Abstraction from the 1950s to Today', June-July 2014

MARINO MARINICavallo1954Gouache on paper laid down on canvas24.5 x 17 in.62 x 43 cmInquire About This WorkEnquire About This Work

Provenance:
Denver Art Galleries, Denver
Esther Robles Gallery, Los Angeles
Anonymous sale, Sotheby Parke Bernet, Inc., New York, 19 May 1978, lot 393a
F. Caturani, acquired at the above sale
Anonymous sale, Sotheby's, New York, 23 February 2001, lot 126
Private collection, UK, acquired at the above sale
Christie’s London 16 October 2006, lot 205
Private collection, Italy, acquired at the above sale
Studio Guastalla, Milan
European private collection, acquired from the above in 2009
Christie’s New York, 6 November 2014, lot 154
Private collection, US, acquired at the above sale

MARINO MARINICavallo e Cavaliere1945Mixed media on card15 x 11.5 in38 x 29 cmInquire About This WorkEnquire About This Work

Provenance
Private collection, Sweden

NORMAN BLUHMComposition in blue and pink 11967A set of 4 Oil, acrylic and gouache on paper laid on canvas12 x 8.5 in30 x 22 cmInquire About This WorkEnquire About This Work

Provenance:
Galerie Stadler, Paris

NORMAN BLUHMComposition in blue and pink 21967A set of 4 Oil, acrylic and gouache on paper laid on canvas 12 x 8.5 in30 x 22 cmInquire About This WorkEnquire About This Work

Galerie Stadler organised solo exhibitions of the work of Norman Bluhm in 1968, 1970, 1972, 1982 and 1988 and included his work in group exhibitions in 1983, 1985-6, 1988 and 1990.

Provenance:
Galerie Stadler, Paris

NORMAN BLUHMComposition in blue and pink 31967A set of 4 Oil, acrylic and gouache on paper laid on canvas 12 x 8.5 in30 x 22 cmInquire About This WorkEnquire About This Work

Galerie Stadler organised solo exhibitions of the work of Norman Bluhm in 1968, 1970, 1972, 1982 and 1988 and included his work in group exhibitions in 1983, 1985-6, 1988 and 1990.

Provenance:
Galerie Stadler, Paris

NORMAN BLUHMComposition in Green1967Oil, acrylic and gouache on paper laid on canvas30 x 22.5 in76 x 57 cmInquire About This WorkEnquire About This Work

Galerie Stadler organised solo exhibitions of the work of Norman Bluhm in 1968, 1970, 1972, 1982 and 1988 and included his work in group exhibitions in 1983, 1985-6, 1988 and 1990.

Provenance:
Galerie Stadler, Paris

NORMAN BLUHMUntitled white background1965Oil on canvas28.5 x 45.5 in73 x 116 cmInquire About This WorkEnquire About This Work

Galerie Stadler organised solo exhibitions of the work of Norman Bluhm in 1968, 1970, 1972, 1982 and 1988 and included his work in group exhibitions in 1983, 1985-6, 1988 and 1990.

Provenance:
Galerie Stadler, Paris

PAUL JENKINSPhenomena in the Wind's Eye1977Acrylic on canvas77 x 62.75 in196 x 159.5 cmInquire About This WorkEnquire About This Work

JEAN-PAUL RIOPELLESans titre1956Gouache on paper23.5 x 47.25 in59.5 x 120 cm Inquire About This WorkEnquire About This Work

Jean-Paul Riopelle's ‘Sans titre' was executed during a period of transition in his stylistic output. Having previously painted using the method of action painting synonymous with Jackson Pollock, Riopelle turned towards more conventional painting techniques. Sans titre, while bearing many of the hallmarks of a certain American Abstract Expressionist style, reveals a more methodical process where saturated colour is built up in layers and applied using a palette knife. However, as a work on paper he could not afford to use such heavy impastos as was his practice in oil painting. ‘Sans titre' perhaps represents the introduction of a new aesthetic where the sheer weight of paint had to be reduced due the very nature of the medium. The manifestation of this is apparent as areas of paper remain exposed; creating a void that brings passages of calm to the frenetic movement around it.
The subsequent effect is a visual patchwork of vibrant, luminous colours that are brought together harmoniously despite the seemingly energetic and free technique. By the mid to late 1950s Riopelle was at his peak – his understanding of the application of paint and the diversity of sources for his inspiration (from deep Canadian forests to post-war Paris) produced a magnificent body of work in the years running up to his prolific, but less interesting, 1960s output.

ALEX KATZAda in Striped Dress1981Oil on aluminum cut-out12.25 x 18.75 in.Inquire About This WorkEnquire About This Work

Provenance:
Mangel Gallery, Philadelphia
Collection of Mr. & Mrs. Irving Morris, Delaware, acquired in 1985
Private collection, Florida, acquired in the 1990s

KEITH HARINGFight AIDS Worldwide1990Lithograph on 100% pure rag Arches paper11 x 8.5 inchesInquire About This WorkEnquire About This Work

LAURA NEWMANArcade2016Flashe, ink, and acrylic on linen40 x 30 in. 101 x 76 cmInquire About This WorkEnquire About This Work

LAURA NEWMANVeil2018Oil, acrylic, and ink on canvas72 x 56 in.183 x 142 cmInquire About This WorkEnquire About This Work

LAURA NEWMANIce Cave2015Oil and acrylic on canvas62 x 52 in.157 x 132 cmInquire About This WorkEnquire About This Work

LAURA NEWMANTopspin2016Flashe, acrylic, and ink on linen30 x 24 in.76 x 61 cmInquire About This WorkEnquire About This Work

PHILIPPE HIQUILYLa Reorneadora2006Corten weathering steel mobile48 x 30.25 x 28.25 in122 x 43cm x 72cmInquire About This WorkEnquire About This Work

Provenance:
Galerie AB, Paris