Art Miami 2018December 4 - 9, 2018

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.

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

Pierre Matisse, thence by descent;
Private collection, UK
Literature:
Pierre Schneider, 'Matisse', London, 1984, illustrated p. 38

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.
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

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)

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'.
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.

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

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

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.
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.

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

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

Richard Feigen Gallery
Private collection (acquired from the above in 2015)
Exhibited:
Frank Stella. Ceramic Reliefs and Steel Reliefs, Knoedler Gallery, London, 1985


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


Galerie Stadler, Paris

Galerie Stadler, Paris

Galerie Stadler, Paris

Galerie Stadler, Paris

Galerie Stadler, Paris

'Full Bluhm', Art & Antiques Magazine, November 2012, illustrated p. 65


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.

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


Acquired directly from the artist





Galerie AB, Paris

Direct from the Wilhelmina Barns-Graham Trust

Direct from the Estate of the Artist

Direct from the Wilhelmina Barns-Graham Trust


Direct from the Wilhelmina Barns-Graham Trust

Direct from the Wilhelmina Barns-Graham Trust

Direct from the Wilhelmina Barns-Graham Trust

Direct from the Wilhelmina Barns-Graham Trust











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.
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