S UM M E R
S E L E CT I ONS
S U M M ER
S E L E C T I ONS
S C U L PT U R E
George Rickey, Three Squares Gyratory, Variation II 1971, Stainless Steel 175 x 150 x 150 inches, Ed. 3/3
GE ORG E RIC K EY
above- Space Churn Red, 1968, Painted steel, 160 x 80 x 80 inches, ed. of 3 opposite- Three Squares Vertical Diagonal II, 1986, Stainless steel, each square 36�, Ed 1/3
BERNAR VENET 229.5° Arc x 5
1986, Corten steel 86 1/2 x 86 1/2 x 19 1/2 inches
This work, 229° arc x 5, stands roughly 87” tall and is a stellar example of the artist’s significant arc series. The title, which is embossed on the front element, depicts the physical composition of the sculpture, 5 beams bent 229° in circumference. As Venet’s work focuses on logic and mathematics, the manipulation of line plays an important role in his minimalistic approach to sculpture. In his arc works, the repetition of a determined curve provides a sense of order and fluidity. The soft curves of each steel element expressing the malleability characteristic of the material, the crimson-colored surface rust formed by the chemical compound of the corten metal.
BERNAR VENET
above- Effrondrement: 10 Arcs, 2017, Polished steel with black/grey patina, polished steel base, 20 x 19 3/4 x 5 inches opposite- Two Indeterminate Lines, 2002, Rolled steel, 74 x 75 1/2 x 95 inches
L O U ISE N EVELSON Mirror Shadow XXXIX
1987, Wood Sculpture painted black 56 x 52 x 15 inches
Constructed in her late 80’s, a year before her passing, her Mirror Shadow series displays a wonderful evolution in her constructivist wall-hanging works. The carefully composed assemblage of found objects, scrap wood, and pieces of furniture coated in stark black paint was the apotheosis of her larger body of work while Mirror Shadow deviated from the hard linear confines of it’s predecessors. Nevelson’s decision to let elements extend past any exterior border, jutting off in varying directions, signaled a deliberate separation from the cubist influences that had so strongly influenced her artistic methodology. Mirror Shadow XXXIX was included in the exhibiton “Aspects of Collage Assemblage and the Found Object in 20th Century Art” shown at the Solomon Guggenheim Museum, March 29- April 29th, 1988.
H E N RY MOORE
Draped Torso 1982, Bronze, 7 1/2 x 3 x 4 inches, Ed. 7/9
L O UISE N EVELSON
Untitled (Royal Tide Series) 1961, Wood with gold paint, 29 x 7 x 4 inches
DON A LD LIPSK I
Untitled (Waterlily with two red glasses) 1997, Glass Stemmed Glasses, liquid, steel, screw, metal brace, and hook 25 x 8 x 8 inches
C H A KA IA BOOK ER
Equity 2011, Rubber tire and wood, 26 x 51 x 19 inches
FRANK STELLA Mosport
1982, Alkyd and magna on etched magnesium 114 x 126 x 24 inches
Mosport is a significant example of the Circuit series by Frank Stella, and has been exhibited in major museums around the world. Illustrated in full color in the Museum of Modern Art’s exhibition catalogue, it was selected over many other examples of the artist’s work to be included in this important show. William Rubin once called the Circuit paintings Stella’s “largest and, I believe, most successful group of paintings yet.” He was working on his Charles Eliot Norton lectures for Harvard at the time that he was finishing up this series, thus it represents a certain apogee of his career-long project of thinking about the role of space, literalism, and illusionism in art: his and that of others. These works combine painting done by Stella in the studio and etched patterns executed in the factory. This comes together to dissolve the planes of the shaped aluminum components into an unprecedented degree of illusionistic optical play that makes of the relief nothing short of a thicket, which the eye struggles to penetrate. As in the preceding Exotic Birds and Indian Birds series’ of works, Circuit paintings like Mosport are comprised not of shapes composed in Stella’s mind, but specialized metal curves used for practical purposes in railroad, shipping, architectural, and industrial contexts. These Stella selects and mixes to create his compositions, and it is also in part to defeat the factory-made nature of these materials that he introduces painterly elements of gestural drawing.
PA I N T I NG S / PR I N T S
Michael Goldberg, Winter Study #1 1960, Oil on paper 14 x 11 inches
A L E XE J VON JAW LEN SK Y Half-nude Figure with Long Hair Sitting Bent 1910, Oil on canvas board 15 x 11 inches
“On the cusp between abstraction and figuration, Jawlensky’s Half-nude Figure with Long Hair Sitting Bent, from circa 1910 marvelously transforms a traditional portrait with essential color and purity of line. A most-prized subject for the artist, the human figure was Jawlensky’s leitmotif for escaping strict temporality, allowing him a means to convey the inner soul. The sitter is stripped from any material attributes, her status thereby elevated in visual terms to that of the quasi-divine or ethereal nymph, while the artist’s dynamic brushstrokes and bright palette confer upon her an aura of magnetism. The elegance of Jawlensky’s nude in the present work is rendered through the homogenous use of deep emerald green, powerfully contrasting the fiery bright red of the background. Such strong complementary colors echo the natural elements of vegetation and fire which, along with the figure’s unkempt jet-black hair, suggest her primitive state and continual transformation. Her bold and striking features prefigure many works from Jawlensky’s later Meditations series, and they offer a glimpse into the artist’s concerns with representing spirituality in art. Jawlensky meanwhile fervently conveys the sensuality of his subject, especially as her frontal pose and quasi-defiant gaze directly confront the viewer.”
S A LVA DOR DA LI
Momento Mori (Remember you must die) Study for the play Juan Tenorio c.1950, Gouache and ink on paper 11 7/8 x 9 inches
J O S EPH STELLA
Still Life with Apples and Shell 1912, Oil on waxed linen, 12 3/4 x 17 3/4 inches
M A R C C H A GA L L
Scene from Ballet Aleko c.1942, watercolor and pencil on paper 14 1/2 x 14 1/2 inches
HELEN F R A NKE NT H A L E R
Untitled Oct.26, 1983, Acyrlic on paper, 21.5 x 30.75 inches
S A M F R ANC I S Untitled (SF59-546)
1959, Gouache on paper 19 1/4 x 24 3/4 inches
ProvenanceThe artist Private Collection Andre Emmerich Gallery, New York, NY (May 1976) James Goodman Gallery, New York (November 1978) Private Collection (March 1979) Martha Jackson Gallery, No. 16833, New York (Nov.1980) Robert Elkon Gallery LE 5-3940, New York Makler Gallery No. 10203, Philadelphia (March 1984) Private Collection, San Diego Private Collection, Baltimore (by descent) Private Collection, San Diego, CA
S A M F R A NC I S
Untitled 1983, Monotype with oil paint, powdered pigment and ink with embossing 31 x 24 inches
GEOR GE C OND O
Flying Colors 2000, Collage on canvas, 47 7/8 x 59 7/8 inches
R I C H A R D A N U SZK IEW IC Z
Soft Corner Vermilion 1978, Acrylic on canvas, 42 x 42 inches
Feast of the Sun and Moon 1964, Oil on canvas mounted to board, 36 x 36 inches
R O SS B LEC K N ER
above- Study: Brother’s Swords, 1986, Oil on canvas, 26 1/8 x 26 1/8 inches opposite- Untitled (RB6223), 2012, Oil on Linen, 72 x 60 inches
J U LIA N OPIE
Suzanne Walking (cropped), 2005 Continuous computer animation, computer film, and 40� LCD screen 37.4 x 24 x 7.875 inches
R I C H A RD PETTIBON E
Roy Lichtenstein-Woman with Flowered Hat, 1970 Acrylic and color silkscreen on canvas 7 5/8 x 6 1/4 inches
JIM DIN E
Jam and Jelly, 2000 Color woodcut, photoengraving, and collograph on Stonehenge paper 30 x 43 inches, ed. 1/20
DE NN IS OPPEN HEIM
Study for the Second Generation, 1988 Pencil, colored pencil, oil wash, oil pastel on paper 53 1/2 x 41 1/2 inches
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