ArtPro
Language
HomeCollage
Collage
1950 | Lacquer Oil Collage Paper
55.9×76.2 cm | 0.43 m²
Estimate:
USD 1*** - 2***
Description
Detail
Description Willem De Kooning 1904 - 1997 Collage signed de Kooning (upper right) oil and lacquer with thumbtacks on paper 22 by 30 in. 55.9 by 76.2 cm. Executed in 1950. Provenance Sidney Janis Gallery, New York Acquired from the above in April 1952 by the present ownerLiterature Thomas B. Hess, Abstract Painting:  Background and American Phase , New York, 1951, p. 159; p. 7, illustrated in color Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, and Techniques,  Toronto, 1967, no. 315, p. 222, illustrated Gabriella Drudi, Willem de Kooning , Milan, 1972, no. 67, p. 34; p. 67, illustrated in color Willem de Kooning and Harold Rosenberg, Willem de Kooning , New York, 1974, no. 85, p. 8; p. 150, illustrated in color John Russell, “Two Artists Share the Carnegie International,”  The New York Times , 18 November 1979, p. 40 William C. Seitz, Abstract Expressionist Painting in America , Washington, D.C., 1983, no. 31, pp. 20, 34, 47, 147 p. 77; n.p., illustrated in color Sally Yard, Willem de Kooning, the First Twenty-six Years in New York , Ph.D. Dissertation, Princeton University, 1986, no. 223, p. 171; p. 172, illustrated Florian Rodari, Collage: Painted, Cut & Torn Papers , Geneva, 1988, p. 134; p. 133, illustrated in color Charles Brock, Describing Chaos: Willem de Kooning’s Collage Painting Asheville and its Relationship to Traditions of Description and Illusionism in Western Art , Masters of Arts thesis, University of Maryland, College Park, 1993, no. 21, pp. v, 31, 34-36; p. 99, illustrated  Sally Yard, Willem de Kooning , New York, 1997, no. 37, p. 50; p. 51, illustrated in color T.J. Clark, “In Defense of Abstract Expressionism,” in Rosalind Krauss, ed.,  October: The Second Decade, 1986-1996 , Cambridge, 1997, p. 55, illustrated David Anfam, “De Kooning, Bosch, and Bruegel: Some Fundamental Themes,” The Burlington Magazine , vol. 145, no. 1207, London, 2003, p. 711 Sally Yard, Willem de Kooning, Works, Writings and Interviews , Barcelona, 2007, p. 47; p. 55, illustrated in color Daniel Louis Haxall, Cut and Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage , Ph.D. dissertation, The Pennsylvania State University, 2009, pp. 47-48 Valerie Hellstein, “Process and Memory in Women Singing II, ” Tate Research Publication , online, 2017, illustrated in color  Simonetta Fraquelli,  Soutine / de Kooning: Conversations in Paint,  Philadelphia, 2021, p. 89, illustrated in color Exhibited New York, Wildenstein Gallery, XXth Century American Paintings , 1952, no. 39 Boston, School of the Museum of Fine Arts,  De Kooning: 1935-1953 , 1953, no. 12 Ithaca, Andrew Dickson White Museum of Art, Contemporary Painting and Sculpture from the Collection of Mr. and Mrs. David M. Solinger , 1956, no. 11 New York, Museum of Modern Art; Amsterdam, Stedelijk Museum; London, Tate Gallery; Chicago, Art Institute of Chicago; Los Angeles County Museum of Art,  Willem de Kooning , 1968-69, no. 41, p. 162; p. 69, illustrated Pittsburgh, Carnegie Institute Museum of Art, Pittsburgh International Series: Willem de Kooning , 1979-80, no. 19, p. 50, illustrated New York, The Metropolitan Museum of Art, Willem de Kooning: Paintings , 1994-95 Ithaca, Cornell University, Herbert F. Johnson Museum of Art , The David M. Solinger Collection: Masterworks of Twentieth Century Art , 2002-03, pp. 34-35, illustrated New York, Museum of Modern Art, de Kooning: a Retrospective , 2011-12, no. 68, pp. 211-212, illustrated in color London, Royal Academy of Arts; Guggenheim Museum Bilbao,  Abstract Expressionism , 2016-17, no. 143, p. 44; p. 291, illustrated in color (London), no. 113, p. 253, illustrated in color (Bilbao)
Auction date:
14 Nov 2022
Auction house:
Auction: