Art Miami 2018December 4 - 9, 2018
YAYOI KUSAMAPassage of the Wind1988Acrylic on canvas21 x 18 inInquire About This WorkEnquire About This Work
Studio of the artist
Private collection, Italy (acquired from the above in 1991)
Private collection, Italy (acquired from the above in 1991)
MARC CHAGALLBouquet d'oeillets aux amoureux en vert 1950Oil and gouache, oil pastel, brush and India ink on paper31 x 23 in.Inquire About This WorkEnquire About This Work
Provenance
Private collection, Paris.
Anonymous sale, Sotheby's, New York, 11 November 1999, lot 317.
Private collection, United States, by whom acquired at the above sale;
Christie's, New York, 5 May 2010, lot 248.
Acquired at the above sale by the present owner.
Exhibitions
Beijing, Palais des Beaux Arts de Chine, Marc Chagall, 1994, no. 61.
Balingen, Stadthalle, Marc Chagall: Ursprung und Wege, June - September 1998, no. 51 (illustrated); this exhibition later travelled to Liège, Musée des Beaux-Arts, September - December 1998.
Private collection, Paris.
Anonymous sale, Sotheby's, New York, 11 November 1999, lot 317.
Private collection, United States, by whom acquired at the above sale;
Christie's, New York, 5 May 2010, lot 248.
Acquired at the above sale by the present owner.
Exhibitions
Beijing, Palais des Beaux Arts de Chine, Marc Chagall, 1994, no. 61.
Balingen, Stadthalle, Marc Chagall: Ursprung und Wege, June - September 1998, no. 51 (illustrated); this exhibition later travelled to Liège, Musée des Beaux-Arts, September - December 1998.
FERNAND LEGERDeauville la Sieste1950Gouache, watercolour and ink on paper11.25 x 15 inInquire 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
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 inInquire About This WorkEnquire About This Work
Provenance:
Pierre Matisse, thence by descent;
Private collection, UK
Literature:
Pierre Schneider, 'Matisse', London, 1984, illustrated p. 38
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.Inquire 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.
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
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
JOAN MITCHELLUntitled, 19721972Oil on canvas 25 x 23.5 inInquire About This WorkEnquire About This Work
Joan Mitchell has long been regarded as one of the most important figures to emerge from the second generation of Abstract Expressionists. Untitled, 1972 is stylistically consistent with Mitchell's mature work, comprising the use of richly coloured, gestural abstractions set within a composition that mirrors the wild, energetic vigour synonymous with her technique. Often inspired by landscape and poetry, Mitchell sought to capture a purely emotional experience of nature where the cognitive impression took precedence over the recognisable image. She herself wrote: “I have feelings about water and sky. I like a view. I don't like to look at a wall.” Acquiring a house in Vétheuil outside Paris in 1967, Mitchell settled in the peaceful tranquillity of her new environs with panoramic views over the Seine. While tempting to connect her more visually harmonious aesthetic from this period with Vétheuil's most well-known artistic resident, Claude Monet, Mitchell refuted such claims, stating to The New York Times: “I bought this house because I liked the view, not out of any love for Monet”, stingingly mispronouncing the artist's name so it rhymed with ‘bonnet'.
Provenance:
Carl Plansky, NY (gift from the artist);
Succession Carl Plansky 2009, NY;
Private collection, Pennsylvania;
Collection of David Schaff, Philadelphia;
Jane Roberts Fine Arts, Paris;
Private collection, London;
Private collection, Brussels (since 2012)
Carl Plansky, NY (gift from the artist);
Succession Carl Plansky 2009, NY;
Private collection, Pennsylvania;
Collection of David Schaff, Philadelphia;
Jane Roberts Fine Arts, Paris;
Private collection, London;
Private collection, Brussels (since 2012)
ANDY WARHOLThe Scream (After Munch)1983 Screen print on Lenox board in a unique combination of colors40 x 32 inInquire About This WorkEnquire About This Work
Andy Warhol's prints after Edvard Munch were never published, and exist only in rare, unique colour variants. The series was commissioned by New York's Galleri Bellman and reimagines Munch's most celebrated works: 'The Brooch (Eva Mudocci)', 'Madonna', 'Self-Portrait with Skeleton Arm', and his most iconic image, 'The Scream'. One of the most innovative and influential artists of American Pop, and indeed in the history of twentieth-century art, Warhol's use of mass imagery and reproductive technologies destabilised accepted notions of fine art and creativity. Appropriating popular culture's most ubiquitous images, from Marilyn Monroe to the Campbell's Soup can, he fashioned a language of bold lines and synthetic colours that has in itself become iconic.
By the 1980's famous artworks had become commodities, taking the form of posters, fridge magnets and all species of museum souvenirs. Munch's work, and 'The Scream' in particular, are amongst modern art's most reproduced and recognisable images. Warhol's silkscreen reimagines Munch's haunting image in characteristic brilliant colour. Munch's coursing contorted lines, so central to the painting's sense of disruption and angst, take on a graphic quality in Warhol's work. As in all of Warhol's silkscreens, the image takes on a new life in reproduction, one that is caught between the icon's formal qualities and the collective memory that shrouds it.
Warhol's interest in Munch extended beyond the ubiquity of his work. Munch was also a prolific printmaker, reproducing his paintings as lithographs. Like Warhol, he was acutely aware of the power of color, using varying shades and combinations to shift the mood and impact of each print. In his 1964 'Self-Portrait', Warhol echoes the same frontal pose and red hue of Munch's 'Self-Portrait with Skeleton Arm', asserting his affinity with an artist who observed the peculiar angst of modern life. Another example of Warhol's 'The Scream' can be found in the Museum of Modern Art, New York. Works from this series were also exhibited in 'Munch/Warhol', which was held at New York's Scandinavia House in 2013 and coincided with the publication of Patricia Berman's 'Munch/Warhol and the Multiple Image'.
By the 1980's famous artworks had become commodities, taking the form of posters, fridge magnets and all species of museum souvenirs. Munch's work, and 'The Scream' in particular, are amongst modern art's most reproduced and recognisable images. Warhol's silkscreen reimagines Munch's haunting image in characteristic brilliant colour. Munch's coursing contorted lines, so central to the painting's sense of disruption and angst, take on a graphic quality in Warhol's work. As in all of Warhol's silkscreens, the image takes on a new life in reproduction, one that is caught between the icon's formal qualities and the collective memory that shrouds it.
Warhol's interest in Munch extended beyond the ubiquity of his work. Munch was also a prolific printmaker, reproducing his paintings as lithographs. Like Warhol, he was acutely aware of the power of color, using varying shades and combinations to shift the mood and impact of each print. In his 1964 'Self-Portrait', Warhol echoes the same frontal pose and red hue of Munch's 'Self-Portrait with Skeleton Arm', asserting his affinity with an artist who observed the peculiar angst of modern life. Another example of Warhol's 'The Scream' can be found in the Museum of Modern Art, New York. Works from this series were also exhibited in 'Munch/Warhol', which was held at New York's Scandinavia House in 2013 and coincided with the publication of Patricia Berman's 'Munch/Warhol and the Multiple Image'.
Andy Warhol Art Authentication Board stamp verso, annotated 'A185.995' in pencil; on Lenox Museum Board, with the printer's blindstamp, Rupert Jasen Smith, NY
Provenance:
Collection Kristof Freiherr Rüdt von Collenberg, Amsterdam
Acquired by the present owner in 1999
Literature:
Feldman & Schellmann, IIIA.58
This work is accompanied by a letter and identification number from the
Andy Warhol Art Authentication Board, Inc., dated June 8, 1999.
Provenance:
Collection Kristof Freiherr Rüdt von Collenberg, Amsterdam
Acquired by the present owner in 1999
Literature:
Feldman & Schellmann, IIIA.58
This work is accompanied by a letter and identification number from the
Andy Warhol Art Authentication Board, Inc., dated June 8, 1999.
ANDY WARHOLMarilyn Monroe1967screenprint on paper6 x 6 inInquire 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
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
ALEXANDER CALDERPurple and Patchwork1969Gouache and ink on paper29 x 43 in Inquire About This WorkEnquire About This Work
Provenance:
Perls Gallery, New York (1969);
Hokin Gallery, Palm Beach (1972);
Private collection, New York;
By descent from the above to the previous owner
Perls Gallery, New York (1969);
Hokin Gallery, Palm Beach (1972);
Private collection, New York;
By descent from the above to the previous owner
MAN RAYL'AstrolabeConceived in 1957; this version assembled by 1966 brass, copper, painted steel and magnifying glass on a wooden base26.5 x 26.5 in. including baseInquire About This WorkEnquire About This Work
Wooden base measures 3.5 x 21.5 x 8 in. (9 x 55 x 20.3 cm)
Provenance
Cordier & Ekstrom, Inc., New York (by 1966).
Christies 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
Cordier & Ekstrom, Inc., New York (by 1966).
Christies 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 inInquire 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.
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.
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.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
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 inInquire 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
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
FRANK STELLAThe St. Albans Murder1985polychrome cast steel29.5 x 19.2 x 14.5 in.Inquire About This WorkEnquire About This Work
Created in collabortaion with Frank Bosco.
Provenance:
Richard Feigen Gallery
Private collection (acquired from the above in 2015)
Exhibited:
Frank Stella. Ceramic Reliefs and Steel Reliefs, Knoedler Gallery, London, 1985
Richard Feigen Gallery
Private collection (acquired from the above in 2015)
Exhibited:
Frank Stella. Ceramic Reliefs and Steel Reliefs, Knoedler Gallery, London, 1985
KENNETH NOLANDSongs: Pennies from Heaven1984Acrylic on canvas88 x 62 inInquire About This WorkEnquire About This Work
MARINO MARINICavallo1954gouache on paper laid down on canvas24.5 x 17 in.Inquire 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
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 inInquire About This WorkEnquire About This Work
NORMAN BLUHMComposition in blue and pink 11967A set of 4 Oil, acrylic and gouache on paper laid on canvas12 x 8.5 inInquire About This WorkEnquire About This Work
Provenance:
Galerie Stadler, Paris
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 inInquire 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
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 inInquire 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
Galerie Stadler, Paris
NORMAN BLUHMComposition in green1967Oil, acrylic and gouache on paper laid on canvas30 x 22.5 inInquire 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
Galerie Stadler, Paris
NORMAN BLUHMUntitled white background1965Oil on canvas28.5 x 45.5 inInquire 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
Galerie Stadler, Paris
NORMAN BLUHMUntitled1958Watercolour on paper22.5 x 31 inInquire About This WorkEnquire About This Work
Literature:
'Full Bluhm', Art & Antiques Magazine, November 2012, illustrated p. 65
'Full Bluhm', Art & Antiques Magazine, November 2012, illustrated p. 65
Provenance:
Anderson Gallery, New York
Literature:
"Full Bluhm", Art & Antiques Magazine, November 2012, illustrated p. 65
Anderson Gallery, New York
Literature:
"Full Bluhm", Art & Antiques Magazine, November 2012, illustrated p. 65
PAUL JENKINSPhenomena in the Wind's Eye1977Acrylic on canvas77 x 62.75 inInquire About This WorkEnquire About This Work
JEAN-PAUL RIOPELLESans titre1956Gouache on paper23.5 x 47.25 inInquire 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.
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
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
KIKI SMITHUntitled (Seven Light Bulbs)2008Ink, glitter, mica on Nepalese paper20 x 29.5 in.Inquire About This WorkEnquire About This Work
Provenance:
Acquired directly from the artist
Acquired directly from the artist
LAURA NEWMANArcade2016Flashe, ink, and acrylic on linen40 x 30 in.Inquire About This WorkEnquire About This Work
LAURA NEWMANVeil2017-2018Oil, acrylic, and ink on canvas72 x 56 in.Inquire About This WorkEnquire About This Work
LAURA NEWMANIce Cave2015Oil and acrylic on canvas62 x 52 in.Inquire About This WorkEnquire About This Work
LAURA NEWMANTopspin2016Flashe, acrylic, and ink on linen30 x 24 in.Inquire About This WorkEnquire About This Work
DAVID HOCKNEYMatelot Kevin Druez 12009Inkjet-printed computer drawing on paper44 x 29.5 in.Inquire About This WorkEnquire About This Work
DAVID HOCKNEYMatelot Kevin Druez 22009Inkjet-printed computer drawing on paper60 x 41 in.Inquire About This WorkEnquire About This Work
ATHAR JABERStone Head - Opus 5 nr.102016Belgian Bluestone12.5 x 9.8 x 8.6 in.Inquire About This WorkEnquire About This Work
Weight: 22 kg
ATHAR JABERMarble Head - Opus 5 Nr. 22015Carrara marble20 x 15 x 13 in.Inquire About This WorkEnquire About This Work
Weight: 42 kg
ATHAR JABERMarble Arm - Opus 92016Carrara marble4.5 x 4.5 x 31.5 in.Inquire About This WorkEnquire About This Work
Weight: 19 kg
ATHAR JABERMarble Figure - Opus 4 Nr. 42013-2018Carrara marble25 x 35 x 27.5 in.Inquire About This WorkEnquire About This Work
Weight: 450 kg
ATHAR JABERMarble Figure - Opus 4 Nr. 32012-2018Carrara marble26 x 35 x 31 in.Inquire About This WorkEnquire About This Work
Weight: 595 kg
PHILIPPE HIQUILYLa Reorneadora2006Corten weathering steel mobile48 x 30.25 x 28.25 inInquire About This WorkEnquire About This Work
Provenance:
Galerie AB, Paris
Galerie AB, Paris
WILHELMINA BARNS-GRAHAMAerial1967-70Oil and acrylic on hardboard24 x 24 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Wilhelmina Barns-Graham Trust
Direct from the Wilhelmina Barns-Graham Trust
WILHELMINA BARNS-GRAHAMTwo pairs complementaries of equal amount1970Oil on canvas 48 x 48 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Estate of the Artist
Direct from the Estate of the Artist
WILHELMINA BARNS-GRAHAMUntitled1969Gouache on paper23 x 23.5 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Wilhelmina Barns-Graham Trust
Direct from the Wilhelmina Barns-Graham Trust
WILHELMINA BARNS-GRAHAMScorpio Series 1 No.71995Acrylic on paper22 x 30 in.Inquire About This WorkEnquire About This Work
WILHELMINA BARNS-GRAHAMInvasion III Lemon and Emerald on Scarlet1970Oil and acrylic on hardboard12 x 12 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Wilhelmina Barns-Graham Trust
Direct from the Wilhelmina Barns-Graham Trust
WILHELMINA BARNS-GRAHAMWave 21967 -70Acrylic on hardboard24 x 24 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Wilhelmina Barns-Graham Trust
Direct from the Wilhelmina Barns-Graham Trust
WILHELMINA BARNS-GRAHAMNight Walk Porthmeor No. 2 1996Acrylic on paper22 x 30 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Wilhelmina Barns-Graham Trust
Direct from the Wilhelmina Barns-Graham Trust
WILHELMINA BARNS-GRAHAMJoyful II1995Acrylic on paper22 x 30 inInquire About This WorkEnquire About This Work
Provenance:
Direct from the Wilhelmina Barns-Graham Trust
Direct from the Wilhelmina Barns-Graham Trust
TOMAS VUFlatland (9.37 am)2012-2016Acrylic, silkscreen, and mixed media on Somerset paper35 x 46 in. Inquire About This WorkEnquire About This Work
TOMAS VUDark Side of the Moon (Apollo 17 West)2015-2018Acrylic, silkscreen, colored pencil, and inkjet on plexiglass72 x 36 in.Inquire About This WorkEnquire About This Work
TOMAS VUDark Side of the Moon (Apollo 16 West)2015-2018Acrylic, silkscreen, colored pencil, and inkjet on plexiglass72 x 36 in.Inquire About This WorkEnquire About This Work
TOMAS VUDark Side of the Moon (Apollo 7 West)2015-2018Acrylic, silkscreen, colored pencil, and inkjet on plexiglass72 x 36 in.Inquire About This WorkEnquire About This Work
TOMAS VUDark Side of the Moon (AS-101 West)2015-2018Acrylic, silkscreen, colored pencil, and inkjet on plexiglass72 x 36 in.Inquire About This WorkEnquire About This Work
TOMAS VUDark Side of the Moon (Apollo 12 West)15-2018Acrylic, silkscreen, colored pencil, and inkjet on plexiglass72 x 36 in.Inquire About This WorkEnquire About This Work
Provenance: Private collection, UK (since 2003)
JEAN-FRANÇOIS RAUZIERThe Hamptons Veduta2018C-print58 x 98 in.Inquire About This WorkEnquire About This Work
SOPHIE RYDERConversation (Small)2016Bronze7 x 8 x 2 inInquire About This WorkEnquire About This Work
SOPHIE RYDERSitting Girl with Dogs2015Bronze9 x 10 x 6 inInquire About This WorkEnquire About This Work
SOPHIE RYDERReclining horse with lovers2016Bronze9.4 x 12.2 x 5.3 inInquire About This WorkEnquire About This Work
SOPHIE RYDERGirl Hugging Horse, Maquette2015Bronze18 x 4 x 10 inchesInquire 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.
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.
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.
Art Miami 2018December 4 - 9, 2018
Waterhouse & Dodd is pleased to announce our return to Art Miami for our 8th year, where we will be featuring a fine selection of Modern, Post-War and Contemporary British, European, and American art.
A few highlights from our carefully curated booth will include works by Marc Chagall, Henri Matisse, Alexander Calder, Willem de Kooning, Fernand Leger, Robert Rauschenberg, and Alex Katz, alongside works by contemporary artists Sophie Ryder, Athar Jaber, August Muth, Jean-Francois Rauzier and more.
For additional information please contact Ray Waterhouse (+1 917 821 3131), Sandra Safta Waterhouse (+1 917 821 4141) or Jonathan Dodd
BOOTH AM516
One Herald Plaza
At NE 14th Street on Biscayne Bay between the Venetian & Macarthur Causeways
Miami, FL 33132
VIP PREVIEW
Tuesday, December 4 5:30pm – 10pm
GENERAL ADMISSION
Wednesday, December 5: 11 am - 8 pm
Thursday, December 6: 11am - 8pm
Friday, December 7: 11am - 8pm
Saturday, December 8: 11am - 8pm
Sunday, December 9: 11am - 6pm
Catalogue
