图片文件尺寸 : 3999 x 4852px
Louise Bourgeois:The Ainu Tree, 1999
Lithograph in colors on Arches paper, signed in pencil with initials and numbered AP21 (an artist\'s proof aside from the edition of 100), published by the artist, with the blindstamp of the printer Solo Impression, New York, with full margins.
23 3/4 x 15in (60.3 x 38.1cm)
sheet 29 x 20in (73.6 x 50.8cm)
路易丝·布尔乔亚 阿伊努树
图片文件尺寸 : 4829 x 3886px
Jennifer Bartlett:1 Print, from House portfolio, 2003
Screenprint in color on wove paper, signed in pencil, dated and numbered 20/45, published by Brand X Editions Ltd., New York, with full margins.
12 x 12in (30.5 x 30.5cm)
sheet 14 x 14in (35.5 x 35.5cm)
珍妮弗·巴雷特 1张照片，来自House投资组合
图片文件尺寸 : 5370 x 3822px
Michael Coleman:
Blackfeet Encampment
signed \'Michael Coleman ©\' (lower right)
oil on Masonite
24 x 30in
framed 36 x 41 1/2in
迈克尔·科尔曼 黑脚围栏24 x 30英寸框架36 x 41 1/2英寸
图片文件尺寸 : 4255 x 4098px
Roy Lichtenstein:
Modular Painting with Four Panels No. 1 (Poster), 1995
Offset lithograph in colors on wove paper, signed in pencil, published by UP- Universal Prints, Verlag und Handel GMBH, Hamburg, printed in Germany, with wide margins.
sheet 47 x 41in (119.3 x 104.1cm)
罗伊·利希滕斯坦 带四个面板的模块化涂装1号
图片文件像素：4800 x 4771 px
萧琴-
Hsiao Chin * - Zeitgenössische Kunst II-
(born in Shanghai in 1935 ; lives and works in Milan)
Omaggio a Wang Wei-Lin, 1990s, signed and titled on the reverse, acrylic on canvas, 82.5 x 93 cm, framed
图片文件像素：5842 x 5474 px
皮耶罗·多拉齐奥-
Piero Dorazio * - Zeitgenössische Kunst I-
(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed
This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity
Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection
Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)
Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)
The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio
Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.
He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.
[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.
Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]
Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]
In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.
(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)
图片文件尺寸 : 5476 x 4266px
August Gay:Town Scene
signed \'AF. GAY\' (lower right)
oil on canvas
16 x 20 in.
framed 20 1/2 x 24 1/2 in.
奥古斯特·盖伊 城镇场景16 x 20英寸。框架20 1/2 x 24 1/2英寸。
图片文件尺寸 : 5403 x 5020px
Ransome Gillet Holdredge:Along the Delta
signed \'R.G. Holdredege\' (lower left)
oil on canvas
20 x 36 in.
framed 26 x 42 in.
Ransome Gillet Holdredge 沿三角洲20 x 36英寸。框架26 x 42英寸。
图片文件尺寸 : 5277 x 5349px
William Keith:Cattle Watering at a Stream
signed \'W. Keith SF\' (lower left)
oil on canvas
18 x 29 in.
framed 25 x 36 in.
威廉·基思 在溪流中给牛浇水18 x 29英寸。框架25 x 36英寸。
图片文件尺寸 : 5482 x 5057px
Hanson Puthuff:Massive Canyon Slopes
signed \'H. Puthuff\' (lower right) and signed again and titled (on the reverse)
oil on canvas
18 x 24 in.
framed 24 x 30 in.
Hanson Puthuff 大峡谷斜坡18 x 24英寸。框架24 x 30英寸。
图片文件尺寸 : 3999 x 4852px
Louise Bourgeois:The Ainu Tree, 1999
Lithograph in colors on Arches paper, signed in pencil with initials and numbered AP21 (an artist\'s proof aside from the edition of 100), published by the artist, with the blindstamp of the printer Solo Impression, New York, with full margins.
23 3/4 x 15in (60.3 x 38.1cm)
sheet 29 x 20in (73.6 x 50.8cm)
路易丝·布尔乔亚 阿伊努树
图片文件尺寸 : 4829 x 3886px
Jennifer Bartlett:1 Print, from House portfolio, 2003
Screenprint in color on wove paper, signed in pencil, dated and numbered 20/45, published by Brand X Editions Ltd., New York, with full margins.
12 x 12in (30.5 x 30.5cm)
sheet 14 x 14in (35.5 x 35.5cm)
珍妮弗·巴雷特 1张照片，来自House投资组合
图片文件尺寸 : 5370 x 3822px
Michael Coleman:
Blackfeet Encampment
signed \'Michael Coleman ©\' (lower right)
oil on Masonite
24 x 30in
framed 36 x 41 1/2in
迈克尔·科尔曼 黑脚围栏24 x 30英寸框架36 x 41 1/2英寸
图片文件尺寸 : 4255 x 4098px
Roy Lichtenstein:
Modular Painting with Four Panels No. 1 (Poster), 1995
Offset lithograph in colors on wove paper, signed in pencil, published by UP- Universal Prints, Verlag und Handel GMBH, Hamburg, printed in Germany, with wide margins.
sheet 47 x 41in (119.3 x 104.1cm)
罗伊·利希滕斯坦 带四个面板的模块化涂装1号
图片文件像素：4800 x 4771 px
萧琴-
Hsiao Chin * - Zeitgenössische Kunst II-
(born in Shanghai in 1935 ; lives and works in Milan)
Omaggio a Wang Wei-Lin, 1990s, signed and titled on the reverse, acrylic on canvas, 82.5 x 93 cm, framed
图片文件像素：5842 x 5474 px
皮耶罗·多拉齐奥-
Piero Dorazio * - Zeitgenössische Kunst I-
(Rome 1927–2005 Perugia)
Untitled [Contro il rassegnarsi], 1967, Signed, dated, dedicated and inscribed on the reverse, oil on canvas, 100 x 100, framed
This work is registered in the Archivio Piero Dorazio, Milan and is accompanied by a photo certificate of authenticity
Provenance:
V. Pirozzi Collection, Rome
Sale Farsetti, Prato, 27 May 2000, lot 303
Anfiteatro Arte, Milan
European Private Collection
Exhibited:
Milan, Galleria Anfiteatro Arte, 1999, exh. cat. p. 47 no. 15 with ill.
Genoa, Dorazio, Marco Canepa Arte Contemporanea, 2006, exh. cat. with ill.
Padua, Piero Dorazio, Anfiteatro Arte, 1 February – 18 March 2007, exh. cat. p. 74 and 75 with ill. (label on the reverse)
Literature:
M. Volpi Orandini, J. Lassaigne, G. Crisafi, Dorazio Catalogo ragionato delle opere, Alfieri Editore, 1977, no. 8 (in the addenda at the end of the catalogue)
The subject of the painting always drives from the previous painting, hence there is no reason for inspiration. One tries again, keeps on trying to do what he has already done…
Piero Dorazio
Of all the great first and second generation 美国 painters I have known since 1953 (the third generation is not yet discernable), Kenneth Noland is a truly singular case.
He is from North Carolina and Washington, i.e. the provinces, rather than the artistic milieu of New York.
[...]In the 1950s and 1960s I never understood whether some artistic circles in the Metropolis or certain isolated artists like Kenneth Noland and Morris Louis, Georgia O\'Keeffe in New Mexico or Andrew Wyeth in Pennsylvania were more provincial. Although isolated, Louis and Noland were already the most modern of modern 美国 painters in the early 1960s. They were a surprising revelation when discovered and presented by the critic Clement Greenberg at the 法国 and Co. Gallery in New York. Their exhibitions in that gallery between \'59 and \'60 remain by far the most exciting of the decade.
Kenneth Noland\'s painting has nothing to do, therefore, with all the clichés of 美国 painting disseminated here by European critics who have framed all expressions into schools or categories or groups (Action Painting, New Dada, Abstract expressionism, Pop Art, Minimal Art etc.) letting what were actually the most creative values and personalities slip through their fingers. [...]
Ken Noland established himself, from the late 1960s and 1970s, among those few artists defined as \'Colour field painters\' or \'Post Painterly Abstraction\' not as a group but rather as a trend: Helen Frankenhaler, Morris Louis, Jules Olitsky, Friedel Dzubas, Larry Poons. There was a convergence of interests among these painters for colour as an element that defines large spaces and long periods of time for the observer, who is induced to meditate because he is immersed in the rhythm of the lines and chromatic masses of a truly abstract painting, devoid of any allusion or reference to the real, the metaphysical or the subjective temperament. Painting that refers on the one hand to the decorative character of early Matisse, and on the other to the secular spirit of Constructivism. Among those painters, Noland was always the one who, with tenacity and clarity of purpose, was best able to sublimate \'pure visibility\' into a highly lyrical personal poetics. His nature as a colourist and his technique inspired his constant formal research into surface-colour and material-colour relationships. [...]
In these works chromatic fantasy and refined sensitivity, arranged in a precise structural order, bring the brushstrokes and pictorial matter to life in decisive and delicate spaces and lights and rhythms, expressing a constant reflection on the inevitable characteristics of reality. Constancy and appearance, the negative and the positive, fullness and emptiness; our gaze is entertained and delighted by this repertoire of perception, emotion and mind.
(Piero Dorazio, Il singolare caso di Kenenth Noland, in “Rigando dritto. Piero Dorazio Scritti 1945-2004, pp. 425-427)
图片文件尺寸 : 5476 x 4266px
August Gay:Town Scene
signed \'AF. GAY\' (lower right)
oil on canvas
16 x 20 in.
framed 20 1/2 x 24 1/2 in.
奥古斯特·盖伊 城镇场景16 x 20英寸。框架20 1/2 x 24 1/2英寸。
图片文件尺寸 : 5403 x 5020px
Ransome Gillet Holdredge:Along the Delta
signed \'R.G. Holdredege\' (lower left)
oil on canvas
20 x 36 in.
framed 26 x 42 in.
Ransome Gillet Holdredge 沿三角洲20 x 36英寸。框架26 x 42英寸。
图片文件尺寸 : 5277 x 5349px
William Keith:Cattle Watering at a Stream
signed \'W. Keith SF\' (lower left)
oil on canvas
18 x 29 in.
framed 25 x 36 in.
威廉·基思 在溪流中给牛浇水18 x 29英寸。框架25 x 36英寸。
图片文件尺寸 : 5482 x 5057px
Hanson Puthuff:Massive Canyon Slopes
signed \'H. Puthuff\' (lower right) and signed again and titled (on the reverse)
oil on canvas
18 x 24 in.
framed 24 x 30 in.
Hanson Puthuff 大峡谷斜坡18 x 24英寸。框架24 x 30英寸。