图片文件尺寸 : 5164 x 3870px
Ed Ruscha:Big Dipper Over Desert (Engberg 131), 1982
Aquatint in colors on wove paper, signed in pencil, dated and numbered 40/48 (there were also 10 artist\'s proofs), with the blindstamp of the publisher/printer, Crown Point Press, San Francisco, with full margins.
23 7/8 x 35 3/4in (60.6 x 90.8cm)
sheet 33 1/2 x 44 3/4in (85.1 x 113.7cm)
Ed俄罗斯 沙漠上空的北斗七星
图片文件尺寸 : 4011 x 4723px
Sean Scully:
Square Light I, 1988
Soap-ground and spit-bite aquatint in colors on wove paper, signed in pencil, titled, dated \'88\' and annotated \'TPB\' (a proof, aside from the edition of 25), with the blindstamps of the publisher/printer, Crown Point Press/Brian Shure, San Francisco, with full margins, framed.
20 3/4 x 20 3/4in (52.7 x 52.7cm)
sheet 33 3/4 x 30 1/2in (85.7 x 77.4cm)
肖恩·斯库利 方形灯I
图片文件尺寸 : 4620 x 5136px
Pat Steir:When I think of Venice, 1980
Etching with aquatint and drypoint in colors on wove paper, signed in pencil, dated and numbered 32/35 (there were also 10 artist\'s proofs), with the blindstamp of the publisher Crown Point Press, San Francisco, with full margins, framed.
35 1/2 x 48 1/2in (90.1 x 123.1cm)
sheet 41 7/8 x 55in (106.3 x 139.7cm)
帕特·斯特尔 当我想起威尼斯
图片文件尺寸 : 5398 x 5336px
David Salle:Portrait with Scissors and Nightclub, 1987
Woodcut and aquatint in colors on wove paper, signed in pencil, dated and numbered 81/100, with the blindstamp of the publisher Crown Point Press, San Francisco, with pencil notations by the printer Tadashi Toda at Shi-un-do Print Shop, Kyoto, with full margins.
18 1/8 x 24 1/8in (46 x 61.2cm)
sheet 24 7/8 x 29 5/8in (63.1 x 75.2cm)
大卫·萨尔 剪刀和夜总会肖像
图片文件尺寸 : 5418 x 5192px
Pat Steir:
The Tree After Hiroshige, 1984
Etching with aquatint, soft and hardground with drypoint in colors on Buff Arches paper, signed in pencil, dated and numbered 21/30 (there were also 10 artist\'s proofs), with the blindstamp of publisher/printer Crown Point Press, San Francisco, printed by Peter Pettengill, with full margins.
23 7/8 x 36in (60.6 x 91.4cm)
sheet 32 1/8 x 43in (81.5 x 109.2cm)
帕特·斯特尔 Hiroshige之后的树
图片文件尺寸 : 4926 x 5213px
Invader:Alias - NY-89
incised with the artist\'s symbol and date \'...09\' (near the right edge), identified and titled \'LOCATION/520 24th ST/10th AV/NY/USA/NY-89/DATE OF INVASION/NOVEMBER 29 2007/SCORE/20 POINTS\' (lower left)
ceramic tiles in Plexiglas
13 3/4 x 13 1/4 x 1 3/4 in (35.0 x 33.7 x 4.5 cm)
inclusive of Plexiglas base 14 3/4 x 13 1/4 x 3 1/4 in
入侵者 别名-NY-89
图片文件像素：6259 x 4573 px
杰森·马丁，当代艺术I-
Jason Martin * - Zeitgenössische Kunst I-
(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm
Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner
Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011
Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)
The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.
“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22
图片文件尺寸 : 3485 x 3071px
乔瓦尼·巴蒂斯塔·特罗蒂（Giovanni Battista Trotti）的《一位男性圣徒身后跟着一群男人，指着祭坛上的怪物》-a Group of Men, Pointing to a Monstrance on an Altar by Giovanni Battista Trotti
A Male Saint Followed--Giovanni Battista Trotti (意大利, 1555 – 1612)
图片文件尺寸 : 4528 x 4765px
Richard Diebenkorn:Blue with Red, 1987
Woodcut in colors on Echizen Kozo Mashi paper, initialed in pencil, dated and numbered 13/200 (there were also 20 artist\'s proofs), with the blindstamp of the publisher, Crown Point Press, San Francisco, initialed in pencil by the printer, Tadashi Toda at Shi-un-do Print Shop, Kyoto, with full margins, framed.
33 3/4 x 23in (85.7 x 58.4cm)
sheet 37 1/4 x 25 1/2in (94.6 x 64.8cm)
理查德·迪本科恩 蓝色与红色
图片文件尺寸 : 4594 x 4827px
Richard Diebenkorn:#8, from 41 Etchings Drypoints, 1965
Aquatint and soft ground etching on Rives BFK paper, initialed in pencil, titled, dated and annotated \'AP\' (an artist\'s proof, aside from the edition of 25), published/printed by Crown Point Press/Kathan Brown, Oakland, with full margins.
5 7/8 x 8 1/4in (15 x 21cm)
sheet 12 3/8 x 14 3/4in (31.5 x 37.5cm)
理查德·迪本科恩 #8，来自41蚀刻和干燥点
图片文件尺寸 : 5164 x 3870px
Ed Ruscha:Big Dipper Over Desert (Engberg 131), 1982
Aquatint in colors on wove paper, signed in pencil, dated and numbered 40/48 (there were also 10 artist\'s proofs), with the blindstamp of the publisher/printer, Crown Point Press, San Francisco, with full margins.
23 7/8 x 35 3/4in (60.6 x 90.8cm)
sheet 33 1/2 x 44 3/4in (85.1 x 113.7cm)
Ed俄罗斯 沙漠上空的北斗七星
图片文件尺寸 : 4011 x 4723px
Sean Scully:
Square Light I, 1988
Soap-ground and spit-bite aquatint in colors on wove paper, signed in pencil, titled, dated \'88\' and annotated \'TPB\' (a proof, aside from the edition of 25), with the blindstamps of the publisher/printer, Crown Point Press/Brian Shure, San Francisco, with full margins, framed.
20 3/4 x 20 3/4in (52.7 x 52.7cm)
sheet 33 3/4 x 30 1/2in (85.7 x 77.4cm)
肖恩·斯库利 方形灯I
图片文件尺寸 : 4620 x 5136px
Pat Steir:When I think of Venice, 1980
Etching with aquatint and drypoint in colors on wove paper, signed in pencil, dated and numbered 32/35 (there were also 10 artist\'s proofs), with the blindstamp of the publisher Crown Point Press, San Francisco, with full margins, framed.
35 1/2 x 48 1/2in (90.1 x 123.1cm)
sheet 41 7/8 x 55in (106.3 x 139.7cm)
帕特·斯特尔 当我想起威尼斯
图片文件尺寸 : 5398 x 5336px
David Salle:Portrait with Scissors and Nightclub, 1987
Woodcut and aquatint in colors on wove paper, signed in pencil, dated and numbered 81/100, with the blindstamp of the publisher Crown Point Press, San Francisco, with pencil notations by the printer Tadashi Toda at Shi-un-do Print Shop, Kyoto, with full margins.
18 1/8 x 24 1/8in (46 x 61.2cm)
sheet 24 7/8 x 29 5/8in (63.1 x 75.2cm)
大卫·萨尔 剪刀和夜总会肖像
图片文件尺寸 : 5418 x 5192px
Pat Steir:
The Tree After Hiroshige, 1984
Etching with aquatint, soft and hardground with drypoint in colors on Buff Arches paper, signed in pencil, dated and numbered 21/30 (there were also 10 artist\'s proofs), with the blindstamp of publisher/printer Crown Point Press, San Francisco, printed by Peter Pettengill, with full margins.
23 7/8 x 36in (60.6 x 91.4cm)
sheet 32 1/8 x 43in (81.5 x 109.2cm)
帕特·斯特尔 Hiroshige之后的树
图片文件尺寸 : 4926 x 5213px
Invader:Alias - NY-89
incised with the artist\'s symbol and date \'...09\' (near the right edge), identified and titled \'LOCATION/520 24th ST/10th AV/NY/USA/NY-89/DATE OF INVASION/NOVEMBER 29 2007/SCORE/20 POINTS\' (lower left)
ceramic tiles in Plexiglas
13 3/4 x 13 1/4 x 1 3/4 in (35.0 x 33.7 x 4.5 cm)
inclusive of Plexiglas base 14 3/4 x 13 1/4 x 3 1/4 in
入侵者 别名-NY-89
图片文件像素：6259 x 4573 px
杰森·马丁，当代艺术I-
Jason Martin * - Zeitgenössische Kunst I-
(born in London in 1970)
Untitled, 2008, oil on steel, 236 x 354 x 11 cm
Provenance:
Private collection Thomas Olbricht, Essen
Van Ham, Cologne, 26 September 2020, lot 333 - acquired there by the present owner
Exhibited:
Hamburg, Deichtorhallen, Zwei Sammler: Thomas Olbricht und Harald Falckenberg, 24 June – 21 August 2011
Literature:
Luckow, Dirk: Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52 (without ill.)
The British artist Jason Martin expands the possibilities of painting with his innovative approach in using unusual materials which serve as paint. He attracted international attention with his large, brushed oil paintings, executed in thin layers of paint with self-made comb-like tools – such as the one being auctioned off. Because of the light bouncing off the shiny surface, experiencing the work in person is like walking towards a sculpture rather than a painting.
“There’s never really any single point to review the work or to experience the work, it’s about moving around. But there is a stillness as well, in that the organisation of the marks all collide into a central or suggested central point. […] When you encounter a work of mine, there is an academic approach to the performative act, the gestural act. I have a series of reduced movements that then compile in a composition. And you also look through it, because there is this implied sense of looking through, this illusion. […] I would suggest that my paintings are a hybrid between that naturalism, that looking through, that perspectival space, that implied pictorial depth and the didactic, academic concerns of abstraction, which are for me physical and arm-led, or I immerse my body into the whole making of the work. And they sit very much in between these two places, these two worlds. [...]”
Jason Martin on the exhibition: Convergence. Thaddaeus Ropac, Seoul Fort Hill, 24.2.-16.4.22
图片文件尺寸 : 3485 x 3071px
乔瓦尼·巴蒂斯塔·特罗蒂（Giovanni Battista Trotti）的《一位男性圣徒身后跟着一群男人，指着祭坛上的怪物》-a Group of Men, Pointing to a Monstrance on an Altar by Giovanni Battista Trotti
A Male Saint Followed--Giovanni Battista Trotti (意大利, 1555 – 1612)
图片文件尺寸 : 4528 x 4765px
Richard Diebenkorn:Blue with Red, 1987
Woodcut in colors on Echizen Kozo Mashi paper, initialed in pencil, dated and numbered 13/200 (there were also 20 artist\'s proofs), with the blindstamp of the publisher, Crown Point Press, San Francisco, initialed in pencil by the printer, Tadashi Toda at Shi-un-do Print Shop, Kyoto, with full margins, framed.
33 3/4 x 23in (85.7 x 58.4cm)
sheet 37 1/4 x 25 1/2in (94.6 x 64.8cm)
理查德·迪本科恩 蓝色与红色
图片文件尺寸 : 4594 x 4827px
Richard Diebenkorn:#8, from 41 Etchings Drypoints, 1965
Aquatint and soft ground etching on Rives BFK paper, initialed in pencil, titled, dated and annotated \'AP\' (an artist\'s proof, aside from the edition of 25), published/printed by Crown Point Press/Kathan Brown, Oakland, with full margins.
5 7/8 x 8 1/4in (15 x 21cm)
sheet 12 3/8 x 14 3/4in (31.5 x 37.5cm)
理查德·迪本科恩 #8，来自41蚀刻和干燥点