DOCSLIB.ORG

277 Third Floor Schätzwerte Bis 3.000 Euro 3. Juni 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
277 Third Floor Schätzwerte Bis 3.000 Euro 3. Juni 2017 Third Floor Frühjahr 2017 277 Schätzwerte bis 3.000 bis Schätzwerte Euro Floor Third 3. Juni 2017 Thomas Struth. Detail. Los 1590 Jean Miotte. Detail. Los 1177 Third Floor Schätzwerte bis EUR 3.000 3. Juni 2017, 11 Uhr / 15 Uhr Third Floor Estimates up to EUR 3,000 3 June 2017, 11 a.m. / 3 p.m. Experten Specialists Friederike Valentien Julia Sagasser +49 30 885 915 4416 +49 30 885 915 4497 [email protected] [email protected] Silke Bräuer +49 30 885 915 4417 [email protected] Zustandsberichte Condition reports [email protected] Grisebach — Frühjahr 2017 Vorbesichtigung der Werke Sale Preview Ausgewählte Werke München Ausgewählte Werke: 3. und 4. Mai 2017 Kunst des 19. Jahrhunderts: 17. und 18. Mai 2017 Grisebach Jesco von Puttkamer Dorothée Gutzeit Türkenstraße 104 80799 München Düsseldorf 6. Mai 2017 Grisebach Anne Ganteführer-Trier Bilker Straße 4–6 40213 Düsseldorf Zürich 9. bis 11. Mai 2017 Grisebach Verena Hartmann Bahnhofstrasse 14 8001 Zürich Dortmund 15. und 16. Mai 2017 Galerie Utermann Wilfried Utermann Silberstraße 22 44137 Dortmund Hamburg 18. und 19. Mai 2017 Galerie Commeter Stefanie Busold Bergstraße 11 20095 Hamburg Sämtliche Werke Berlin 26. bis 30. Mai 2017 Grisebach Fasanenstraße 25, 27 und 73 10719 Berlin Freitag bis Montag 10 bis 18 Uhr Dienstag 10 bis 15 Uhr Für die mit einem 6 gekennzeichneten Werke empfehlen wir die Einholung eines Zustandsberichtes. For artworks marked with an 6, we recommend especially that you ask for a condition report. Größere Abbildungen aller zur Versteigerung gelangenden Werke finden Sie unter www.grisebach.com Larger images of all works to be sold can be found at www.grisebach.com Grisebach — Frühjahr 2017 Moderne Kunst 1000R Max Ackermann (1887 – 1975) 3318.03 1001R Max Ackermann (1887 – 1975) 3318.02 „Figuren am Strand“. 1937. Ohne Titel. 1974. Tusche und Kreide auf Velin. 32,5 × 50 cm. Unten rechts mono- Pastell auf schwarzem Karton. 50 × 35,3 cm. Unten rechts mit grammiert und datiert: M.A. 37. Darunter mit Bleistift unleserlich Bleistift signiert und datiert: Ackermann 16. I. 74. WVZ: Die Arbeit bezeichnet. Rückseitig signiert, betitelt und datiert: Max Acker- ist registriert im Max-Ackermann-Archiv, Bietigheim-Bissingen, mann Figuren am Strand 1937. [3318] + unter der Nummer MAA ACK Nr 5890. [3318] + EUR 1.500–2.000 / USD 1,600–2,130 EUR 3.000 / USD 3,200 1002 Max Ackermann (1887 – 1975) 3116.02 1003 Max Ackermann (1887 – 1975) 3116.03 „Strahlende Pforte“ / „Glückliche Zeichen“. 1955/1958. „Überbrückte Kontinente“ / „Strahlende Pforte II“. 1960/1958. 2 Farbserigrafien auf Karton bzw. Velin. 51,5 × 39,4 cm (70 × 49,5 cm) 2 Farbserigrafien, jeweils auf festem Velin. 32 × 49,2 cm bzw. 48,1 × 35,3 cm (70,3 × 50,4 cm). Jeweils signiert und datiert. (50,5 × 70 cm) bzw. 37,5 × 48,8 cm (52,8 × 77,3 cm). Jeweils signiert WVZ: Bayer/Enßlin-List S5504 (mit abweichenden Maßen) bzw. S5805. und datiert. WVZ: Bayer/Enßlin-List S6006 bzw. S5808. Jeweils Jeweils einer von 100 nummerierten Abzügen. Blatt 1: Selbstverlag einer von 100 nummerierten Abzügen. Blatt 2: Esslingen, Kunstver- des Künstlers. Blatt 2: Esslingen, Kunstverlag Fingerle, 1958. 6 [3116] lag Fingerle, 1958. [3116] EUR 350–450 / USD 374–480 EUR 350–450 / USD 374–480 1004 Max Ackermann (1887 – 1975) 3116.01 1005 Friedrich Ahlers-Hestermann (1883 – 1973) 3136.21 „Nächtliches Blau“ / „Wunderblume Wellen und Spiegelungen“. „Erinnerung an Salzburg“. 1958 1973/1962. Lithografie auf cremefarbenem Velin. 35,5 × 30 cm 2 Farbserigrafien, jeweils auf Velin. 48,5 × 31,5 cm (69,8 × 49,8 cm) (52,2 × 39,9 cm). Signiert. WVZ: Söhn 59. Hamburg, Griffelkunst bzw. 49,4 × 31,6 cm (70,4 × 50,4 cm). Jeweils signiert und datiert. (mit Wasserzeichen). [3136] WVZ: Bayer/Enßlin-List S7337 bzw. S6205. Jeweils einer von EUR 100–200 / USD 107–213 100 nummerierten Abzügen. Blatt 2: Esslingen, Kunstverlag Fingerle, 1962. 6 [3116] EUR 350–450 / USD 374–480 10 Grisebach — Frühjahr 2017 1006 Otto Antoine (1865 – 1951) 3304.01 1007 Bele Bachem (1916 – 2005) 3038.04 Friedrich II. vor Schloss Sanssouci. Um 1914. „Liebende mit Engeln und Raben“. 1949. Öl auf Leinwand. 72,8 × 95,4 cm. Unten rechts signiert: Tuschfeder auf Bütten. 28,5 × 39,2 cm. In der Darstellung unten O. Antoine. 6 [3304] + rechts neben dem Tischbein signiert und datiert: Bele 1949. EUR 2.000–3.000 / USD 2,130–3,200 WVZ: Gärtner 218. 6 [3038] EUR 200–300 / USD 213–320 1008 Giacomo Balla (1871 – 1958) 3434.09 1009 Eduard Bargheer (1901 – 1979) 3117.01 Otimismo-Pessimismo. 1923. Landschaft. 1949. Farbserigrafie auf Velin. 30,5 × 46,6 cm. Einer von 300 numme- Aquarell über Bleistift auf dünnem Chinabütten. 42,5 × 60,3 cm. rierten Abzügen. [3434] + Unten rechts signiert und datiert: Bargheer 49. 6 [3117] EUR 300–400 / USD 320–427 EUR 1.200–1.500 / USD 1,280–1,600 1010N Ernst Barlach (1870 – 1938) 3377.02 1011 Willi Baumeister (1889 – 1955) 3547.01 Sitzender Mann. 1909. „Sitzende Figur - Visieren“. 1921. Kreide über Tuschfeder auf Velin. 24,2 × 34 cm. Unten rechts Lithografie auf Japanbütten. Bis zu 34,3 × 27,6 cm (50,3 × 38 cm). datiert, monogrammiert und bezeichnet: 11 Juni 1909 EB Florenz. Signiert. WVZ: Spielmann/Baumeister 19 / Söhn HDO 103-2. WVZ: Nicht bei Schult / nicht bei Wittbold/Laur. 6 [3377] Einer von 10 nummerierten Abzügen aus einer Gesamtauflage von EUR 2.000–3.000 / USD 2,130–3,200 110 Exemplaren. 6 [3547] EUR 900–1.200 / USD 961–1,280 11 1012 Willi Baumeister (1889 – 1955) 3071.01 1013 Willi Baumeister (1889 – 1955) 3116.06 „Phantom“. 1951. „Gravour-Fries I“. 1952. Farbserigrafie auf festem Velin. 47,6 × 56 cm (63,1 × 70 cm). Farbserigrafie auf festem Velin. 12 × 48 cm (20,5 × 57 cm). Signiert. Signiert. WVZ: Spielmann/Baumeister 178. Abzug außerhalb der WVZ: Spielmann/Baumeister 183. Einer von 75 nummerierten Auflage von 70 nummerierten Exemplaren. Esslingen, Kunstverlag Abzügen. Esslingen, Kunstverlag Fingerle. 6 [3116] Fingerle. 6 [3071] + EUR 300–400 / USD 320–427 EUR 1.800–2.400 / USD 1,920–2,560 1014 Willi Baumeister (1889 – 1955) 3547.02 1015 Willi Baumeister (1889 – 1955) 3243.01 „Magie Rupestre - Scheinrelief“. 1953. „Tänzerin I“. 1954. Farblithografie auf Papier. 46 × 61,5 cm (50,7 × 66,5 cm). Signiert. Farblithografie auf festem Velin. 39,2 × 26,2 cm (56,7 × 39,7 cm). WVZ: Spielmann/Baumeister 131 d. Einer von 120 nummerierten Signiert. WVZ: Spielmann/Baumeister 197 (mit dem hellgrauen Abzügen. 6 [3547] gewischten Streifen). Einer von 27 nummerierten Abzügen. EUR 600–800 / USD 640–854 Esslingen, Kunstverlag Fingerle. 6 [3243] EUR 400–600 / USD 427–640 1016 Willi Baumeister (1889 – 1955) 3116.04 1017 Willi Baumeister (1889 – 1955) 3116.07 „Tänzerin III“. 1954. „Mykene“. 1954. Farbserigrafie auf Velin. 40 × 26 cm (61,2 × 43,5 cm). Signiert. WVZ: Farbserigrafie auf festem Velin. 28 × 40,5 cm (43 × 56 cm). Signiert. Spielmann/Baumeister 199. Einer von 80 nummerierten Abzügen. WVZ: Spielmann/Baumeister 210. Einer von 100 nummerierten Esslingen, Kunstverlag Fingerle. 6 [3116] Abzügen. Esslingen, Kunstverlag Fingerle. 6 [3116] EUR 400–600 / USD 427–640 EUR 300–400 / USD 320–427 12 Grisebach — Frühjahr 2017 1018R Max Beckmann (1884 – 1950) 3257.01 1019 Max Beckmann (1884 – 1950) 3211.01 „Wittenbergplatz“. 1911. „Lesender Mann I (Selbstporträt)“. 1912. Lithografie auf Japan. 24 × 22 cm (41,6 × 38,8 cm). Betitelt und Lithografie auf Papier. 21 × 15,3 cm (35 × 24,2 cm). WVZ: Hofmaier signiert. WVZ: Hofmaier 31. Einer von 15 nummerierten Abzügen. 49 I.B. (von II.). Einer von wenigen Abzügen. München, R. Piper & Berlin, E.W. Tieffenbach. 6 [3257] Co. [3211] EUR 1.500–2.000 / USD 1,600–2,130 EUR 2.500–3.000 / USD 2,670–3,200 1020 Max Beckmann (1884 – 1950) 3211.03 1021 Max Beckmann (1884 – 1950) 3211.02 „Bildnis Reinhard Piper“ / „Bildnis Reinhard Piper“. 1920 / 1922. „Bildnis Reinhard Piper“. 1920. Kaltnadel und Holzschnitt, jeweils auf Bütten. 29,8 × 14,7 cm Kaltnadel auf van Gelder-Bütten. 29,6 × 14,6 cm (46 × 29,2 cm). (33,5 × 18,5 cm) bzw. 21,9 × 10,2 cm (35 × 24 cm). Jeweils signiert. Signiert. WVZ: Hofmaier 163d. Einer von 80 Abzügen aus einer WVZ: Hofmaier 163 B.d. (von B.f.) und 240 II.B.e. (von II.B.f.). Gesamtauflage von 100 Exemplaren auf diesem Papier. 6 [3211] Kaltnadel: Einer von 100 Abzügen. Holzschnitt: Einer von 60 Ab - EUR 600–800 / USD 640–854 zügen. Jeweils München, R. Piper & Co., 1921 und 1922. 6 [3211] EUR 800–1.200 / USD 854–1,280 1022 Herbert Behrens-Hangeler (1898 – 1981) 3391.03 1023R Fritz Bleyl (1880 – 1966) 3318.04 Umarmung. Um 1920. Im Theater. 1920. Bleistift auf festem Papier. 42 × 57 cm. Unten rechts in der Tusche auf Bütten. 61,2 × 45,5 cm. Oben rechts signiert Darstellung monogrammiert: hbh. 6 [3391] und datiert: Fritz Bleyl 1920. 6 [3318] EUR 500–700 / USD 534–747 EUR 2.000–3.000 / USD 2,130–3,200 13 1024 Fritz Bleyl (1880 – 1966) 3467.01 1025 Fritz Bleyl (1880 – 1966) 3467.02 „Görden II“. 1920. „Brandenburg XII“. 1920. Tusche über Bleistift auf Papier. 33,8 × 43 cm. Unten links signiert Tusche auf Papier. 32,5 × 43,3 cm. Unten rechts signiert und und datiert: Fritz Bleyl 1920. Rückseitig bezeichnet und betitelt: datiert: Fritz Bleyl 1920. Rückseitig mit Bleistift bezeichnet und 99 Görden II. Provenienz: Aus dem Nachlass des Künstlers. [3467] betitelt: 120 Brandenburg XII. Provenienz: Aus dem Nachlass des EUR 1.400–1.800 / USD 1,490–1,920 Künstlers. [3467] EUR 1.200–1.500 / USD 1,280–1,600 1026 Fritz Bleyl (1880 – 1966) 3467.03 1027 Fritz Bleyl (1880 – 1966) 3467.04 „Nago b.
Load more

Recommended publications
  • Agathe Snow at the Deutsche Guggenheim
    Issue 14 Winter 2011 Agathe Snow at the Deutsche Guggenheim Deutsche Bank Collection in Essen The Great Upheaval in New York Deutsche Guggenheim Magazine Issue 14 Winter 2010 Welcome Das Deutsche Guggenheim Magazine erscheint viermal im Jahr. Agathe Snow: All Access World The Deutsche Guggenheim Magazine is published four times annually. Close Up 2 My Things: Agathe Snow Die Berliner Siegessäule, der Rote Platz in Moskau oder der ame- From Berlin’s Victory Column to Moscow’s Red Square and Redaktion Editorial 3 Deutsche Guggenheim Social Media Activities rikanische Mount Rushmore: Solche Denkmäler feiern verstorbe- America’s Mount Rushmore, monuments honor dead politicians Deutsche Guggenheim, Berlin Sara Bernshausen 2 My Things: Agathe Snow ne Politiker und Herrscher, siegreiche Schlachten oder andere and leaders, victorious battles, and other historic events. While Friedhelm Hütte 3 Deutsche Guggenheim Social Media Activities Ereignisse, die für die lokale oder nationale Geschichte von großer cultural identity has become increasingly plural and complex, na- Steffen Zarutzki Solomon R. Guggenheim Bedeutung sind. Die kulturelle Identität von Ländern rund um tional monuments have retained their prestige and power. Foundation, New York On View at the Deutsche Guggenheim 4 All Access World: Ein Gespräch zwischen Adam McEwen die Welt ist vielfältiger und komplexer geworden, die National- All Access World is the title Agathe Snow has given her proj- Kamilah Foreman und Agathe Snow denkmäler aber sind geblieben. ect for the Deutsche Guggenheim. And this world is indeed di- Elizabeth Franzen Regarding Arts, Berlin 4 All Access World: A Conversation between Adam All Access World nennt Agathe Snow ihr Projekt für das Deut- verse and open to all: Snow has transformed the exhibition space Achim Drucks McEwen and Agathe Snow sche Guggenheim.
    [Show full text]
  • Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
    Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940).
    [Show full text]
  • R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985).
    [Show full text]
  • Isa Genzken Born 1948 in Bad Oldesloe, Germany
    This document was updated April 15, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Isa Genzken Born 1948 in Bad Oldesloe, Germany. Lives and works in Berlin. EDUCATION 1973-1977 Kunstakademie Düsseldorf 1973-1975 Art History and Philosophy Studies, Universität Köln, Cologne 1971-1973 Hochschule der Künste, Berlin 1969-1971 Hochschule für Bildende Künste, Hamburg SOLO EXHIBITIONS 2021 Isa Genzken: Here and Now, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2020 Isa Genzken: Nüsschen, Galerie Buchholz, New York Isa Genzken and Wolfgang Tillmans, KAT_A, Bad Honnef-Rhöndorf, Germany [two-person exhibition] Isa Genzken, David Zwirner, Paris Isa Genzken: Window, Hauser & Wirth, London Isa Genzken: Works 1973 – 1983, Kunstmuseum Basel | Gegenwart, Basel [itinerary: K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Düsseldorf] [catalogue] 2019 Isa Genzken, Charles Asprey, London Isa Genzken, Kunsthalle Bern, Switzerland Isa Genzken. Collagen, Galerie Jahn und Jahn, Munich 2018 Isa Genzken: Außenprojekte, Galerie Buchholz, Berlin Isa Genzken: Sky Energy, David Zwirner, New York 2017 Isa Genzken: Issie Energie, König Galerie, Berlin [organized in collabortion with Galerie Buchholz, Berlin] Isa Genzken: Kaiserringträgerin der Stadt Goslar 2017, Mönchehaus Museum Goslar, Germany 2016 Isa Genzken: I Love Michael Asher, Hauser Wirth & Schimmel, Los Angeles Isa Genzken: Portraits, Galerie Buchholz, New York Isa Genzken: Two Orchids, Doris C. Freedman Plaza, Central Park, New York [organized
    [Show full text]
  • GUGGENHEIM FOUNDATION and ITS GLOBAL NETWORK a Thesis
    GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Masters of Arts Xingyu Hai December, 2012 GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK Xingyu Hai Thesis Approved: Accepted: _________________________________ _________________________________ Advisor School Director Mr. Durand Pope Dr. Ann Usher _________________________________ _________________________________ Committee Member Dean of the College Mr. Rod Bengston Dr. Chand Midha _________________________________ _________________________________ Committee Member Dean of the Graduate School Mr. Neil Sapienza Dr. George R. Newkome _________________________________ Date ii ABSTRACT This work deals with the Guggenheim Foundation’s “Global Museum Network” and its international collaborations with a variety of partners. It also includes a look at the global business management model that has been developed by the Guggenheim Foundation administrators. The main purpose of this work is to examine the “branding system” which was created and utilized by the Guggenheim Foundation and to analyze the system’s advantages and disadvantages within their global operation. The Guggenheim brand system depends on the multination art policies, the development of foreign funding sources, and dealing with international partners and sponsors. iii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION……………………………………………….…....1 II. CULTURE LEGACY OF AMERICAN PHILATHOPIST…………..3 III. BRAND, BRANDING
    [Show full text]
  • JEFF KOONS Jeff Koons: the Sculptor
    JEFF KOONS Jeff Koons: The Sculptor. Liebieghaus Skulpturensammlung, Frankfurt, Germany Née/Born – 1955, York, PA, USA Jeff Koons. Fondation Beyeler, Basel, Switzerland Vit et travaille/Lives and works – New York, NY, USA 2011 Moustache by Jeff Koons. High Museum of Art, Atlanta, GA, USA EDUCATION ARTIST ROOMS: Jeff Koons. National Galleries of Scotland, Edinburgh, UK 1976 BFA, Maryland Institute College of Art, 2010 Jeff Koons: Popeye Sculpture. Galerie de Noirmont, Baltimore, MD, USA Paris, France 1975-76 School of the Art Institute of Chicago, IL, USA Dictator. Gagosian Gallery, New York, NY, USA 1972-75 Maryland Institute College of Art, Baltimore, Jeff Koons: Cracked Egg (Blue). Conservatory, MD, USA Aylesbury, Waddesdon Manor, Buckinghamshire, UK EXPOSITION INDVIDUELLES SÉLECTIONNÉES 2009 Jeff Koons: New Paintings. Gagosian Gallery, Beverly SELECTED SOLO EXHIBITIONS Hills, CA, USA Jeff Koons: Popeye Series. Serpentine Gallery, London, 2017 Jeff Koons. Gagosian, Beverly Hills, CA, USA UK 2016 Jeff Koons. Almine Rech Gallery, London, UK 2008 Jeff Koons: Celebration. Neue Nationalgalerie, Berlin, Jeff Koons: Now. Newport Street Gallery, Germany London, UK Jeff Koons. Galerie Max Hetzler, Berlin, Germany 2015 Jeff Koons: Gazing Ball Paintings. Gagosian Gallery, Jeff Koons: Versailles. Château de Versailles, France New York, NY, USA Jeff Koons. Museum of Contemporary Art, Chicago, Jeff Koons: Balloon Venus (Orange). Natural History IL, USA Museum Vienna, Vienna, Austria Jeff Koons: On the Roof. Metropolitan Museum of Art, Jeff Koons In Florence. Palazzo Vecchio and Piazza New York, NY, USA della Signoria, Florence, Italy 2007 Jeff Koons: Popeye. Gagosian Gallery - Davies Street, Jeff Koons: A Retrospective. Guggenheim Museum London, UK Bilbao, Bilbao, Spain Jeff Koons: Hulk Elvis.
    [Show full text]
  • Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – January 26Th, 2018
    Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – January 26th, 2018 www.stanfordauctioneers.com | [email protected] 1: PAUL KLEE - "M" Garden Gate ["Portail du jardin M"] USD 300 - 400 Paul Klee (Swiss/German, 1879 - 1940). ""M" Garden Gate ["Portail du jardin M"]". Original color collotype. 1932. Printed 1957. Signed in the image, lower left. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Image size: 8 5/16 x 9 3/16 in. (211 x 233 mm). This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1957. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [23634-2-225] 2: ANDY WARHOL - $$ [dollar signs] USD 4,000 - 5,000 Andy Warhol (American, 1928 - 1987). "$$ [dollar signs] [drawing]". Marker drawing on paper. c1979. Signed in black marker, lower center. White wove bond paper. The "full sheet". Fine condition. Provenance: Private collector, Sweden, acquired c.1991 possibly from Frederick W. Hughes (Warhol's business manager); thence to our consignor. Overall size: 11 x 8 1/2 in. (279 x 216 mm). Marker drawings of dollar signs by Warhol are scarce/rare. Our example is rare as it was drawn on Warhol’s “Andy Warhol Enterprises, Inc.” letterhead at the Factory (or as it was known then, “the office”). Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York.
    [Show full text]
  • Suzanne Hudson
    Suzanne Hudson ASSOCIATE PROFESSOR OF ART HISTORY AND FINE ARTS FACULTY FELLOW, USC SOCIETY OF FELLOWS ADVISORY COMMITTEE, VISUAL STUDIES RESEARCH INSTITUTE UNIVERSITY OF SOUTHERN CALIFORNIA DORNSIFE COLLEGE OF LETTERS, ARTS & SCIENCES, DEPARTMENT OF ART HISTORY • THH 355 3501 TROUSDALE PARKWAY • LOS ANGELES, CALIFORNIA 90089-0351 [email protected] CURRICULUM VITAE October 2019 EMPLOYMENT Dornsife College University of Southern California, Associate Professor of Art History and Fine Arts, 2015-present Dornsife College University of Southern California, Assistant Professor of Art History and Fine Arts, 2014-2015 Dornsife College, University of Southern California, Assistant Professor of Art History, 2012-2013 (hired 2011; deferred to complete fellowship) University of Illinois, Urbana-Champaign, Assistant Professor of Art History, Modern and Contemporary Art, 2007-2011 University of Illinois, Urbana-Champaign, Visiting Assistant Professor of Modern and Contemporary Art, 2006-2007 OTHER INVITED TEACHING EXPERIENCE Center for Curatorial Studies at Bard College (CCS Bard), regular Guest Faculty for courses between 2008-2011 Museum of Modern Art, New York, Course Instructor, 2006-2008 The New School University, Parsons School of Design, Course Instructor, Art and Design Studies Department Faculty, 2005-2006 Whitney Museum of American Art, New York, Teaching Fellow, 2003-2006 EDUCATION Princeton University, Art and Archaeology Department Ph.D., 2006 M.A., 2003 University of California, Berkeley B.A. summa cum laude in History of Art; Departmental Honors in History of Art, 1999 HONORS, AWARDS, AND FELLOWSHIPS USC Society of Fellows, Faculty Fellow, 2019-2021 Terra Foundation for American Art, Award for Expanding Outliers in American Art, Co- Organized Conference, Winter 2019 Artspace, Sydney, Australia, Residency, Summer 2017 Andrew W.
    [Show full text]
  • Solomon R. Guggenheim Museum Teacher Resource Unit
    MAY 24, 2019–JANUARY 12, 2020 Solomon R. Guggenheim Museum Teacher Resource Unit Artistic License: Six Takes on the Guggenheim Collection, the first artist-curated exhibition mounted at the Guggenheim, occupies the entire rotunda and celebrates the museum’s extensive holdings of twentieth-century modern and contemporary art. Curated by six contemporary artists who each have helped to shape the Guggenheim’s history with their own pivotal solo shows—Cai Guo-Qiang, Paul Chan, Jenny Holzer, Julie Mehretu, Richard Prince, and Carrie Mae Weems—the presentation brings together collection highlights and rarely seen works from the turn of the century to 1980. Artistic License features nearly three hundred paintings, sculptures, works on paper, and installations, some never before exhibited, that engage with the cultural discourses of their time—from the utopian aspirations of early modernism to the formal explorations of mid-century abstraction to the sociopolitical debates of the 1960s and ’70s. On view during the sixtieth anniversary of the Guggenheim’s iconic Frank Lloyd Wright–designed building, the exhibition honors the museum’s artist-centric ethos, furthers its commitment to art as a force for upending expectations and expanding perspectives, and offers a critical examination of its collection. Artistic License: Six Takes on the Guggenheim Collection is made possible by Major support is provided by Support is also provided by The Kate Cassidy Foundation. The Leadership Committee for Artistic License: Six Takes on the Guggenheim Collection is gratefully acknowledged for its support, with special thanks to Stefan Edlis and Gael Neeson; Larry Gagosian; Fundación Almine y Bernard Ruiz-Picasso para el Arte; Marian Goodman Gallery; Nahmad Contemporary; Peter Bentley Brandt; Hauser & Wirth; Allison and Neil Rubler; and those who wish to remain anonymous.
    [Show full text]
  • MATERIALIEN (Hand-) 1990-2013
    Sign. DSK Name/Bez. Name/Bez. (Forts.) Ort Sign. KMB 1. Veröffentlichungen, die sich ausschließlich mit Künstlerinnen befassen 1. 1 Kuenstlerinnen und ihre Werke in der... Staatsgalerie Stuttgart: Bestandsaufnahme Stuttgart (bis 2004) (Ordner) DSK: 1.1 1. 2 Kuenstlerinnen von der Antike... bis zur Gegenwart (Kirchb./Zonderg.) Dumont 1979 (in LabiblioS) BG 1979 A 1. 3 Adolf Hoelzel's Schuelerinnen Künstlerinnen setzen neue Maßstäbe Museum Stadt WN 1991 NDM 775 1991 1. 4 Deutsche Kuenstlerinnen des 20. JH Malerinnen, Bildhauerinnen,..., (Evers, U.) Schultheiss 1983 BGD 1 1983 1. 5 Kuenstlerinnen des 20. JH Museum WI 1990 YG WIESBA 30 1990 A 1. 6 Kuenstlerinnen International... 1877-1977 (1 Kop.-Bd.) Schl. B-Charlottenburg 1977 DSK: 1.6 1. 7 BRIGITTE- Serie Malerinnen BRIGITTE 1984 DSK: 1.7 1. 8 Malerinnen aus 5 JH (Gottfried Sello; Kopie) Ellert&Richter-V. 1988 R 1988 A 1. 9 Kuenstlerinnen aus Baden-Wuerttemberg von Maria Caspar-Filser bis heute Landes-Girokasse S 1992 YG STUTTG 9 1992 E 1. 10 Kuenstlerinnen von der Renaissance... bis zur Gegenwart (Heller, Nancy) vgs 1989 NCF 1989 A 1. 11 Und ich sehe nichts, nichts als die... (Berger, Renate) Fischer 1989 FU 3 1989 1. 12 Das Verborgene Museum I Dokum. z. Kunst v. Frauen in B öff. Sammlung. Hentrich 1987 YG BERLINW 20 1987/88 : 1 1. 13 Das Verborgene Museum II Dein Land ist Morgen Hentrich 1987 YG BERLINW 20 1987/88 : 2 1. 14 Kuenstlerinnen (Fischer, Mields, Nemeczek, Windheim) GHS KS 1984 DAD 1984 ZB 1. 15 Kunst von Frauen (Krull, Edith; Kopie) Weidlich 1984 DSK: 1.15 1.
    [Show full text]
  • TOL ARTE DE NUESTRO TIEMPO.Pages
    ! THE ART OF OUR TIME: MASTERPIECES FROM THE GUGGENHEIM COLLECTIONS 23 September 2014 – 25 January 2015 (Third floor) 23 October 2014 – 3 May 2015 (First and second floors) ! TERMS OF LOANS AND CREDITS The attached images are on loan to you, and are accepted by you under the following terms and conditions: That the reproductions are accompanied by the name of the artist, the title and date of work, the owner credit line, the copyright holder and photo credit; That the reproductions are not cropped, overprinted, tinted or subject to any form of derogatory treatment without the prior approval of the copyright owner; That the images are only reproduced to illustrate an article or feature reviewing or reporting on The Art of Our Time: Masterpieces from the Guggenheim Collections. That any reproductions that accompany an article are not used for marketing or advertising purposes. ! IMAGE TITLE El Anatsui Earth’s Skin, 2007 Aluminum and copper wire Approximately 449.6 x 1.000.8 cm Guggenheim Abu Dhabi © El Anatsui Photo by Andrew McAllister, courtesy of the Akron Art Museum IMAGE TITLE Marc Chagall Paris Through the Window (Paris par la fenêtre), 1913 Oil on canvas 136 x 141,9 cm Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection, By gift 37.438 © VEGAP, Bilbao, 2014 ! Cristina Iglesias Untitled (Jealousy II) [Sin título (Celosía II)], 1997 Wood, resin, and bronze powder 260 x 350 x 300 cm Guggenheim Bilbao Museoa Vasily Kandinsky Composition 8 (Komposition 8), July 1923 Oil on canvas 140 x 201 cm Solomon R. Guggenheim Museum, New York, Solomon R.
    [Show full text]
  • After Mountains and Sea : Frankenthaler 1956-1959
    After Mountains and Sea: Frankenthaler 1956-195$ / S* y • i- I — After Mountains and Sea: Frankenthaler 1956-1959 With a conversation between Helen Irankentbaler and Julia Brown as well as essays by Brown and Susan Cross In 1952, at the age of twenty-three, Helen Frankenthaler ^reared her legendary painting Mountains and Sea. Comprised of translucent washes of thinned-down pigment embedded in unpnmed canvas, this large-scale painting was rhe first in which she used her soak-stain technique. Frankenthaler's mixture of oil and turpentine or kerosene, which she poured directly onto an unprimed canvas, seeped into and through the raw cotton fibers, evoking a sense of openness and atmospheric space without relying on traditional illusionism. In creating Mountains and Sea, Frankenthaler drew upon diverse sources that ranged from the Analytic Cubism of Georges Braque and Pablo Picasso to the abstractions of Arshile Gorky and, especially, Jackson Pollock, whose radical technique ultimately inspired Frankenthaler to reject the conventions of easel painting. Frankenthaler—who was introduced to many of the leading artists of the New York School's first generation by critic Clement Greenberg became associated with the group of artists who became known as the second generation. In the 1950s, she established her unique method and experimental use of materials, which came to influence her contemporaries as well as subsequent generations of artists. Published on the occasion of an exhibition organized by the Solomon R. Guggenheim Museum, this book explores Frankenthaler's artistic maturation, from the groundbreaking achievement of Mountains and Sea to the extraordinary paintings created from 1956 through 1959.
    [Show full text]