The Boyd Collection – IV. Word + Image, 9

Total Page：16

File Type：pdf, Size：1020Kb

The Boyd Collection – IV. Word + Image, 9

1 of 2 The Boyd Collection – IV. Word + Image Auction 09 November 2018 10:00 am ct Wright 1440 West Hubbard Street Chicago IL t 312 563 0020 f 312 563 0040 wright20.com [email protected] 330 Art survey, twenty Provenance: Collection of Michael and Gabrielle Boyd Estimate: $300–500 Result: $157 Complete Lot Details: American Art Since 1900: A Critical History Barbara Rose, Praeger, 1967. 320 pages, Hardcover with dustjacket. American Art Since 1945 Dore Ashton, Oxford University Press, New York, 1982. 224 pages, Hardcover with dustjacket. Contemporanea: Incontri Internazionali d'Arte Grazielle Lonardi, et al., Centro Di Roma, 1973. 574 pages, Softcover. Das Jahrhundert des Multiple: Von Duchamp bis zur Gegenwart Zdenek Felix, et al., Oktagon Verlag, 1994. 252 pages, Hardcover. International Index of Multiples: From Duchamp to Present Daniel Buchholz and Gregorio 2 of 2 Magnani, Spiral/Wacoal Art Center, Tokyo and Verlag der Buchhandlung Walther Konig, Koln, 1993. Auction 223 pages, Hardcover with dustjacket. 09 November 2018 10:00 am ct Abstractions Americaines: 1940-1960 Michel Hilaire, Reunion des Musees Nationaux, 1999. 184 pages, Softcover. Wright Das Lachen Dadas: Die Berliner Dadaisten und ihre Aktionen Hanne Bergius, Anabas, 1989. 1440 West Hubbard Street 426 pages, Hardcover with dustjacket. Chicago IL Op Art Cyril Barrett, Viking, New York, 1970. 192 pages, Hardcover with dustjacket. t 312 563 0020 Abstract Expressionism: Works on Paper: Selections from The Metropolitan Museum of Art f 312 563 0040 Lisa Mintz Messinger, The Metropolitan Museum of Art/High Museum of Art, 1992. 163 pages, wright20.com Hardcover with dustjacket. [email protected] Abstract Expressionism: The Formative Years Robert Carleton Hobbs and Gail Levin, Cornell University Press, 1981. 140 pages, Hardcover with dustjacket. L'Art Conceptuel, Une Perspective: 22 Novembre 1989 - 18 Fevrier 1990 Suzanne Page, et al., Paris-Musees Soceite des Amis du Musee d'Art Moderne de la Ville de Paris, 1989. 260 pages, Softcover. A Selection of Fifty Works from the Collection of Robert C. Scull Sotheby Parke Bernet, Sotheby Parke Bernet Inc., New York, 1973. Hardcover with dustjacket. Wege Zur Abstraktion: 80 Meisterwerke aus der Sammlung Thyssen-Bornemisza Ulrike Budde, Wolfgang Dreschler, et al., Edition Cantz, Stuttgart, 1988. 184 pages, Hardcover with dustjacket. The Futurist Imagination: Word + Image in Italian Futurist Painting, Drawing, Collage and Free-Word Poetry Anne Coffin Hanson, Yale University Art Gallery, New Haven, 1983. 118 pages, Softcover. Arte Povera: 1971 und 20 Jahre Danach Zdenek Felix, Dumont, Koln, 1991. 148 pages, Hardcover with dustjacket. The Shock of The New: Art and The Century of Change Robert Hughes, British Broadcasting Corporation, London, 1980. 423 pages, Hardcover with dustjacket. Ambiente/Arte: Dal Futurismo Alla Body Art Germano Celant, La Biennale di Venezia, 1977. 236 pages, Hardcover with dustjacket. An American Renaissance: Painting and Sculpture Since 1940 Sam Hunter, Abbeville Press, New York, 1986. 269 pages, Hardcover with dustjacket. Surrealism USA Isabelle Dervaux, National Academy Museum and Hatje Cantz, 2004. 192 pages, Hardcover with dustjacket. Surrealisme Et Peinture Reinhold Hohl, Galerie Beyeler Basel, 1974. Softcover with dustjacket..

Copy Link

Recommended publications

The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19
[Show full text]
18 Works from the Bachman Collection (1606) Lot 2
18 Works from the Bachman Collection (1606) June 4, 2018 EDT Lot 2 Estimate: $150000 - $250000 (plus Buyer's Premium) Hans Hofmann (American/German, 1880-1966) Cataclysm (Homage to Howard Putzel) Signed, dated 'August 11 - 1945' and inscribed 'hommage to howard putzel,' bottom right, oil and casein on board. [HH no. 562-1945; Estate no. M-0264] 51 3/4 x 48 in. (131.4 x 121.9cm) Provenance: The Estate of the Artist. André Emmerich Gallery, New York, New York (acquired directly from the above in 1986). The Estate of Lee & Gilbert Bachman, Atlanta, Georgia & Boca Raton, Florida (acquired directly from the above in 1986). EXHIBITED: "Hans Hofmann: Recent Paintings," Mortimer Brandt Gallery, New York, March 18 - 30, 1946. "Seeing the Unseeable," Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, January 3 - March 3, 1947. "Hans Hofmann: Early Paintings," Kootz Gallery, New York, January 20 - 31, 1959. "Hans Hofmann: A Retrospective Exhibition," a traveling exhibition: Hirshhorn Museum and Sculpture Garden, Washington, D.C., October 14, 1976 - January 2, 1977; Museum of Fine Arts, Houston, Texas, February 4 - April 3, 1977, p. 51 (illustrated in the exhibition catalogue). "Abstract Expressionism: The Formative Years," a traveling exhibition: Howard F. Johnson Museum of Art, March 1 - June 1, 1978; Seibu Museum, Karuizawa, Japan, June - July, 1978; Whitney Museum of American Art, New York, September 1 - December 1, 1978, p. 80 (illustrated in the exhibition catalogue). "Flying Tigers: Painting and Sculpture in New York, 1939 - 1946," a traveling exhibition: Bell Gallery, Brown University, Providence, Rhode Island, April 26 - May 27, 1985; Parrish Art Museum, Southampton, Long Island, New York, June 9 - July 28, 1985.
[Show full text]
Hedda Sterne and Abstract Expressionism
1 Menacing Machines and Sublime Cities: Hedda Sterne and Abstract Expressionism Tasia Kastanek Art History Honors Thesis April 12, 2011 Primary Advisor: Kira van Lil – Art History Committee Members: Robert Nauman – Art History Nancy Hightower – Writing and Rhetoric 2 Abstract: The canon of Abstract Expressionism ignores the achievements of female painters. This study examines one of the neglected artists involved in the movement, Hedda Sterne. Through in-depth analysis of her Machine series and New York, New York series, this study illuminates the differences and similarities of Sterne‟s paintings to the early stages of Abstract Expressionism. Sterne‟s work both engages with and expands the discussions of “primitive” signs, the sublime and urban abstraction. Her early training in Romania and experience of WWII as well as her use of mechanical symbols and spray paint contribute to a similar yet unique voice in Abstract Expressionism. Table of Contents Introduction: An Inner Necessity and Flight from Romania…….…………..……………….3 Machines: Mechanolatry, War Symbolism and an Ode to Tractors……………………......13 New York, New York: Masculine Subjectivity, Urban Abstraction and the Sublime...…...26 Instrument vs. Actor: Sterne’s Artistic Roles………………..………………………….……44 Conclusion………………………………………………………………………………………49 Images…………………………………………………………………………………………...52 Works Cited……………………………………………………………………………………..67 3 “Just as each spoken word rouses an internal vibration, so does every object represented. To deprive oneself of this possibility of causing a vibration
[Show full text]
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
[Show full text]
BOOKS ABOUT ARTISTS Catalogue 72 – January 2013
BOOKS ABOUT ARTISTS Catalogue 72 – January 2013 1. (Aaltonen, Waino). WAINO AALTONEN by Onni Okkonen. Finland, 1945. 4to., boards, DJ, 31pp. text, 96 illustrations of sculpture in photogravure. Text in Swedish and Finnish. VG/VG $12.50 2. (Adam, Robert). ROBERT ADAM & HIS BROTHERS - Their Lives, Work & Influence by John Swarbrick. Scribners, NY, 1915. 4to., 316pp., t.e.g., illustrated. An important reference on one the leading British architect/designers of the 18th Century. A near fine copy. $125.00 3. (Albers, Josef). THE PRINTS OF JOSEF ALBERS - A CATALOGUE RAISONNE1915-1976 by Brenda Danilowitz. Hudson Hills Press, NY, 2001. 4to., cloth, DJ, 215pp. illustrated. Fine in Fine DJ. $75.00 4. (Albright, Ivan). IVAN ALBRIGHT by Michael Croydon. Abbeville, NY, 1978. Folio, cloth, DJ, 308pp., 170 illustrations, 83 in color. F/F $100.00 5. Ali. BEYOND THE BIG TOP. Godine/Pucker Safrai, Boston, 1988. Obl. 4to., cloth, DJ, text and 97 works illustrated, mostly in color. Fine/Fine. $10.00 6. (Allemand, Louis-Hector). LOUIS-HECTOR ALLEMAND - PEINTRE GRAVEUR LYONNAIS 1809-1886 by Paul Proute et al. Paris, 1977. 4to., wraps, 82 prints pictured and described. Fine. $25.00 7. (Allori et al, Allessandro). FROM STUDIO TO STUDIOLO - FLORENTINE DRAFTSMANSHIP UNDER THE FIRST MEDICI GRAND DUKES by Larry J. Feinberg. Oberlin, 1991. 4to., wraps, 211pp, 60 items catalogued and illustrated. Fine. $17.50 8. (Allston, Washington). "A MAN OF GENIUS" - THE ART OF WASHINGTON ALLSTON by Gerdts and Stebbins. MFA< boston, 1979. 4to., cloth, DJ, 256pp., 24 color plates, 162 b/w illustrations. Fine, DJ has white spots on back panel.
[Show full text]
Isamu Noguchi and the Creation of a “Universal” Landscape
ABSTRACT Title of Document: ISAMU NOGUCHI AND THE CREATION OF A “UNIVERSAL” LANDSCAPE Rebecca Hanscom Merritt, Master of Arts, 2011 Directed By: Professor Steven Mansbach Department of Art History The creation of landscapes allowed Isamu Noguchi to look beyond sculpture to an environment where stone, architecture, and landscaping met. This enabled him to think about what he wanted to accomplish as an artist, and by the end of his career landscapes became the aesthetic means to reconcile his “divided self.” He was an artist who had obtained commercial and artistic success at an early age, yet he had to deal with the deeply imbedded psychological challenge of his longing to belong. This apparent discrepancy in his life led Noguchi to create landscapes where he could psychologically belong by making them “universal.” In this paper I explore Noguchi’s struggle in defining his cultural identity, and I examine six gardens created by Noguchi, each coming closer to his wish for a “universal” landscape; an enclosed utopia separated from the chaos of the urban world and cultural definitions. ISAMU NOGUCHI AND THE CREATION OF A “UNIVERSAL” LANDSCAPE By Rebecca Hanscom Merritt Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2011 Advisory Committee: Professor Steven Mansbach, Chair Professor Joshua Shannon Professor Renee Ater © Copyright by Rebecca Hanscom Merritt 2011 Disclaimer The thesis or dissertation document that follows has had referenced material removed in respect for the owner's copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park's library collection.
[Show full text]
ROTHKO Final 2004
DIONYSUS EMBODIED –– NIETZSCHE AND THE WORK AND SUICIDE OF MARK ROTHKO Orlanda Brugnola © 1994, 2004 All rights reserved What do you think, you Higher Men? Am I a prophet? A dreamer? A drunkard? An interpreter of dreams? A midnight bell? A drop of dew? An odour and scent of eternity? Do you not hear it? Do you not smell it? My world has just become perfect, midnight is also noonday, pain is also a joy, a curse is also a blessing, the night is also a sun –– be gone, or you will learn: a wise man is also a fool.1 On the night of February 24, 1970, probably a little after midnight, Mark Rothko, the Abstract Expressionist painter, committed suicide.2 It is the task of this paper to suggest that Rothko, who was known to have been profoundly influenced by Nietzsche’s The Birth of Tragedy Out of the Spirit of Music3, probably made the decision to commit suicide long before its accomplishment and that the decision was influenced by his understanding of Nietzsche. Further, it will be suggested that, in his Houston Chapel paintings, Rothko “solved” the dialectical problem that plagued Nietzsche, to wit, the tendency of the Apollonian and Dionysian modalities to pressure each other into being. It will also be proposed that it is likely that Rothko found, in painting as well as in his death, a means of stating the synthesis between the two modalities which Nietzsche in his later work still chose to call Dionysian. Born Marcus Rothkowitz (1903, Drinsk, Russia) Mark Rothko’s family were ardent Zionists.
[Show full text]
A Finding Aid to the Dore Ashton Papers, 1849, Circa 1928-2014 in the Archives of American Art
A Finding Aid to the Dore Ashton Papers, 1849, circa 1928-2014 in the Archives of American Art Valerie Vanden Bossche and Hilary Price Funding for the processing of a portion of this collection was provided the Smithsonian Institution Collections Care and Preservation Fund 2013 November 15 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1962-1978, undated.............................................. 5 Series 2: Correspondence, 1952-2010, undated..................................................... 6 Series
[Show full text]
Experiencing Louise Nevelson's <Italic>Moon Garden</Italic>
The Smithsonian Institution Experiencing Louise Nevelson's Moon Garden Author(s): Elyse Deeb Speaks Reviewed work(s): Source: American Art, Vol. 21, No. 2 (Summer 2007), pp. 96-108 Published by: The University of Chicago Press on behalf of the Smithsonian American Art Museum Stable URL: http://www.jstor.org/stable/10.1086/521891 . Accessed: 22/08/2012 12:25 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press, Smithsonian American Art Museum, The Smithsonian Institution are collaborating with JSTOR to digitize, preserve and extend access to American Art. http://www.jstor.org New Perspective Experiencing Louise Nevelson’s Moon Garden Elyse Deeb Speaks Th ough nearly forgotten today, Louise Nevelson’s exhibition Moon Garden Plus One won widespread critical acclaim when it opened in 1958 at the Grand Central Moderns Gallery in New York City. Th e show was composed of numerous large, abstract assemblages that together created a uniﬁ ed space. Made mostly of found wooden scraps––banisters, beams, toilet seats, moldings and other architectural embellishments, milk crates, rolling pins, and various domestic wooden objects––the components were all painted a uniform black.
[Show full text]
Rothko and Architecture
ROTHKO AND ARCHITECTURE A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Matthew Palczynski August, 2011 Examining Committee Members: Gerald Silk, Advisory Chair, Professor, Department of Art History Therese Dolan, Professor, Department of Art History Marcia B. Hall, Professor, Department of Art History Michael Taylor, The Muriel and Philip Berman Curator of Modern Art, Philadelphia Museum of Art i © Copyright 2011 by Matthew Palczynski ii TABLE OF CONTENTS Page ABSTRACT……………………………………………………………………………...iv ACKNOWLEDGEMENTS………………………………………………………………v LIST OF ILLUSTRATIONS…………………………………………………………….vi 1. INTRODUCTION……………………………………………………………………..1 2. SPACE………………………………………………………………………………..26 3. APPROPRIATING ITALY‘S AGGRESSIVE ENVIRONMENTS………………....49 4. EARLY WORKS……………………………………………………………………..94 5. ROTHKO, MIES, & TRANSCENDENCE …………………………………………131 6. ARCHITECTURAL THEMES IN NEW YORK‘S VANGUARD ART CA. 1955- 65…………………………………………………………………………….....156 7. CONCLUSION………………………………………………………………...........178 BIBLIOGRAPHY………………………………………………………………………299 iii ABSTRACT The overall goal of this dissertation is to identify and examine the neglected aspects of the literature on Mark Rothko‘s 1958-1959 project to make murals for the Four Seasons restaurant (see Figs. 1-12) in the then-newly opened Seagram Building in Manhattan. These include Rothko‘s attempts to merge the mediums of painting and architecture in order to create an antagonistic environment in the restaurant; how his visits to Italy before and during the project reinforced this goal; how a good deal of the figurative paintings from Rothko‘s earliest career anticipated his blend of aggression and architecturally-related themes; the connection between Rothko and Mies van der Rohe, the architect of the building, in regard to the theme of transcendence; and how his experiments with architectural subjects and motifs aligned Rothko with some of the most influential vanguard artists in New York in the late 1950s and early 1960s.
[Show full text]
School of Art 2009–2010
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2009–2010 School of Art 2009–2010 BULLETIN OF YALE UNIVERSITY Series 105 Number 1 May 10, 2009 Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualiﬁcations and abilities and a∞rmatively Postmaster: Send address changes to Bulletin of Yale University, seeks to attract to its faculty, sta≠, and student body qualiﬁed persons of diverse back- PO Box 208227, New Haven CT 06520-8227 grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment PO Box 208230, New Haven CT 06520-8230 against any individual on account of that individual’s sex, race, color, religion, age, dis- Periodicals postage paid at New Haven, Connecticut ability, status as a special disabled veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual Issued seventeen times a year: one time in May, June, and November; three times in orientation or gender identity or expression. September; four times in July; seven times in August University policy is committed to a∞rmative action under law in employment of women, minority group members, individuals with disabilities, special disabled veter- Managing Editor: Linda Koch Lorimer ans, veterans of the Vietnam era, and other covered veterans. Editor: David J. Baker Inquiries concerning these policies may be referred to the O∞ce for Equal Opportu- Editorial and Publishing O∞ce: 175 Whitney Avenue, New Haven, Connecticut nity Programs, 104 William L.
[Show full text]
Teaching Art Since 1950
Art since 1950 Teaching National Gallery of Art, Washington This publication is made possible by the PaineWebber Endowment Special thanks are owed to Arthur Danto for his generosity; Dorothy for the Teacher Institute. Support is also provided by the William and Herbert Vogel for kind permission to reproduce slides of Joseph Randolph Hearst Endowed Fund for the Teacher Institute. Kosuth’s Art as Idea: Nothing; Barbara Moore for help in concept Additional grants have been provided by the GE Fund, The Circle development; Linda Downs for support; Marla Prather, Jeffrey Weiss, of the National Gallery of Art, the Geraldine R. Dodge Foundation, and Molly Donovan of the Department of Twentieth-Century Art, and the Rhode Island Foundation. National Gallery of Art, for thoughtful suggestions and review; Sally Shelburne and Martha Richler, whose earlier texts form the basis of entries on Elizabeth Murray and Roy Lichtenstein, respectively; © 1999 Board of Trustees, National Gallery of Art, Washington Donna Mann, who contributed to the introduction; and Paige Simpson, who researched the timeline. Additional thanks for assis- tance in obtaining photographs go to Megan Howell, Lee Ewing, NOTE TO THE READER Ruth Fine, Leo Kasun, Carlotta Owens, Charles Ritchie, Laura Rivers, Meg Melvin, and the staff of Imaging and Visual Services, National This teaching packet is designed to help teachers, primarily in the Gallery of Art; Sam Gilliam; Claes Oldenburg and Coosje van upper grades, talk with their students about art produced since 1950 Bruggen; and Wendy Hurlock, Archives of American Art. and some of the issues it raises. The focus is on selected works from the collection of the National Gallery of Art.
[Show full text]