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Contents 5. Dickinson at Frieze Masters Directors of Dickinson

6. Picasso at the Bateau Lavoir Molly Dorkin

12. Martin Kippenberger Hotel Drawings

18. Dickinson Highlights at Frieze Masters Domenico Gnoli & Theodore GĂŠricault

22. Yorkshire Sculpture Park at Dickinson, London 2015

Frieze Masters Regent’s Park, London 14-19 October 2014 www.friezemasters.com S I M ON C . D IC K I N S ON Lt d .

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JASPER JOHNS Selected Works November 1 - December 12 2014

Dickinson Roundell Inc 19 East 66th Street New York, NY 10065 Gallery hours: Monday - Friday 10-6pm Weekends by appointment t: (212) 772 8083 e: newyork@simondickinson.com w: www.simondickinson.com

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Jastper Johns (b.1930) Usuyuki Jasper Johns and Simca Print Artists Inc., 1980 Silk-screen: twenty-three screens Kurotani Kozo paper; Usuyuki (in Japanese) 132.1 x 50.8 cm Kenjiro Nonaka, Hiroshi Kawanishi

Dickinson at Frieze Masters Dickinson is delighted to be returning to Frieze Masters. Following last year’s Landscape Revisited exhibit, which confirmed how pivotal the landscapes of Claude, Constable and Monet were to Vik Muniz, this year Dickinson is pleased to present Picasso at the Bateau Lavoir.

Artists were historically, and still are, inspired by artwork and objects from other eras and from different countries and cultures. In keeping with the fair’s concept, Picasso at the Bateau Lavoir presents a modern perspective on historical art. With a rare Rose Period oil painting at its centrepiece, the presentation identifies the varying influences Picasso absorbed in Paris at the turn-of-the-century, spanning from the 12th to the mid 20th centuries.

There is a common Picasso thread throughout the Dickinson stand this year. The direct inspiration Picasso’s work had on artists who followed, such as Kippenberger and De Kooning, illustrates that such juxtapositions and cross-overs are as relevant today as they were to Picasso over a century ago. De Kooning’s ‘women’ are indebted to Picasso’s portraits of his various female muses. Beyond Picasso, Martin Kippenberger also drew upon Géricault’s Louvre masterpiece, The Raft of the Medusa. Dickinson is fortunate to display one of Géricault’s rare sketches of a Shipwrecked Man alongside Kippenberger’s work, thereby placing an historical painting in a fresh light.

Dickinson hopes to reiterate the extent to which modern art inevitably reflects and relates to the work of artists from centuries before, whilst demonstrating the range and superior quality of artworks to be found at Dickinson.

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Picasso at the Bateau Lavoir

Works from Picasso’s Rose Period are not only remarkably beautiful, but they are also extremely scarce on the market, belonging to a brief period that began to take shape late in 1904 and ended some time in 1906. These were years of both personal contentment and artistic innovation, falling chronologically between the melancholy Blue Period and the so-called “Proto-Cubist” or “African” period, during which time Picasso painted the iconoclastic Les Demoiselles d’Avignon. One of only two oil paintings related to Picasso’s unrealised group composition L’Abreuvoir (The Watering Place), and the only one remaining in private hands, Jeune Garçon nu à cheval is a rare and significant Rose Period painting.

In 1906, Picasso was living in the Bateau Lavoir, a Bohemian enclave in Montmartre. There, he enjoyed the company of his fellow artists and writers, the beginnings of commercial success with the dealer Ambroise Vollard, and the love of his beautiful companion Fernande Olivier. With Fernande – the first of the artist’s great love affairs – acting as his muse, Picasso experienced one of the happiest periods of his life, and his mood is reflected in the tender and luminous works he produced. He took full advantage of his access to a wealth of inspiration, with the opportunity to see works by modern and contemporary artists in Vollard’s gallery and in the growing collection of his friends and patrons Leo and Gertrude Stein. Picasso also wandered the corridors of the Louvre, admiring works by the old masters and studying a cache of recently-excavated Iberian antique stone heads. In Jeune Garçon nu à cheval, Picasso synthesised a number of these disparate influences, ranging from the South Pacific landscapes of Paul Gauguin and weighty figures of Paul Cézanne to the heroic nude kouroi of preclassical Greek 1.

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sculpture. Recently, X-rays have revealed a

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Blue Period composition underneath the

van Dongen for Roland Dorgelès’ colourful

painted surface of Jeune Garçon nu à cheval,

memoirs of life in Montmartre, Au Beau

similar to Les Deux Saltimbinques (Harlequin

Temps de La Butte (1949).

and Companion) in the Pushkin Museum, Moscow. This is evidence of Picasso’s habit of

Collectively, the body of work executed in

recycling canvases at a time when he could

Paris between late 1904 and early 1906 shows

not afford new ones.

how Picasso absorbed and responded to a diverse range of stimuli, including the work

This painting is made all the more desirable

of other artists, and the vibrant and creatively

by its fascinating provenance, having been

fertile environment of the Bateau Lavoir.

given to Picasso’s friend and neighbour in the

Within this brief Rose Period, Jeune Garçon

Bateau Lavoir, the Dutch painter Kees van

nu à cheval is significant as a stylistic link

Dongen, in 1906 in exchange for a landscape

between the better-known harlequins and the

entitled La Vigne. Van Dongen held on to this

revolutionary paintings to come.

Picasso for over 40 years, and it can be seen hanging on the wall in a lithograph of Picasso in his Studio, one of a series of illustrations by

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1. Pablo Picasso L’Abreuvoir, 1906 gouache on cardboard 38.1 x 57.8 cm.

The Metropolitan Museum of Art, New York 2. Pablo Picasso Jeune Garçon nu à cheval, 1906, oil on canvas 55 x 38 cm.

3. X-ray of Jeune Garçon nu à Cheval 4. Pablo Picasso Les Deux Saltimbinques, 1901 oil on canvas, 73 x 60 cm.

The State Pushkin Museum, Moscow 5. Kees van Dongen Picasso dans son Atelier au Bateau-Lavoir 1906, 1949 lithograph from the book “Au Beau Temps de la Butte”, 19 x 14 cm., Private Collection Below and overleaf details

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Martin Kippenberger Hotel Drawings

Martin Kippenberger made hundreds of drawings on hotel stationery during his many lengthy stays in various hotels. Together, however, these drawings can be interpreted as a form of travel diary. While sketches are typically employed by artists to work out their ideas for paintings or sculpture, the hotel drawings give the impression of being doodles or unique thoughts, relating to yet also interrupting Kippenberger’s work on larger projects. The drawings fall into groups: for example, works belonging to one group feature a large grill or vent, and relate to METRO-Net, an imaginary subway system designed by Kippenberger with entrances, exits and ventilation shafts. Another set relates to The Happy End of Franz Kafka’s ‘Amerika’ (1994). A third set, from an exhibition called Über das Über, contain many characteristic motifs from Kippenberger’s art, including references to lamps, kitsch, food and erotica.

Above:

Martin Kippenberger (1953-1997) Persönlich Glücklich Sein, 1997 Signed and dated: M.K. 97’ Felt tip pen on printed paper table cloth 49 x 32 cm.

© Estate of Martin Kippenberger, Galerie Gisela Capitain, Köln

Opposite Untitled (Ohne Titel), 1982 signed and dated: K 82’ mixed media on hotel stationery 30.5 x 22 cm.

Untitled (Ohne Titel), 1986 signed and dated: K 86’ mixed media on Brazilian Ministry of Finance paper 21 x 29.7 cm.

Untitled (Afastamentos Legais Accidentes…), 1986 signed and dated: K 86’ mixed media on Brazilian Ministry of Finance paper 31.8 x 21 cm.

Untitled (Hotel Plaza), 1986 signed and dated: K 86’ watercolor, pencil and collage on paper 31.5 x 23.3 cm.

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Untitled, 1986 signed and dated: K 86’ pen, graphite, colored pencil and gouache on hotel stationery 32.2 x 22.8 cm.

Untitled, 1986 signed and dated: K 86’ pen, graphite, colored pencil and gouache on hotel stationery 31.3 x 22.8 cm.

Untitled (Dorint Hotel und Fereinparks), 1987 signed and dated: K 87’ collage, mixed media headed hotel stationery 29.7 x 21 cm.

Untitled (Rials 100), 1987 signed and dated: K 87’Bankmarkazi Iran red ink and collage on writing paper 31.3 x 22.8 cm.

Also 3 Achter, 1990 signed and dated: M. K. 90’ felt tip pen on hotel stationery 29.7 x 21 cm.

Späte Heuchlerin, 1990 signed and dated: M.K. 90’ colored pencil and ink pen on hotel stationery 29.7 x 21 cm.

Untitled (Hotel Central), 1990 signed and dated: M.K. 90’ pen on hotel stationery 30 x 21 cm.

Untitled (Hotel Chelsea), 1990 signed and dated: M.K. 90’ colored pencil on paper 31.3 x 22.8 cm.

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Martin Kippenberger

Martin Kippenberger (1953-1997)

Martin Kippenberger (1953-1997)

Das Ende des Alphabets (Prototype for the Edition), 1989

Bi ba be loona, Cola ist nicht Bluna, 1989

Inflatable rubber on wood; cork on wood; acrylic on wood Three parts, each approx. 80 x 80 x 20 cm

lightbox, fluorescent lamp 126.5 x 147 x 12.5 cm.

This work is the artist’s prototype for the edition of 7 edited by Emilio Alvarez, Madrid and Galerie Gisela Capitain, Cologne.

See: Kunstverein Braunschweig e.V. and Museum van Hedendaagse Kunst Antwerp, Catalogue Raisonné Kippenberger Multiples, 2003, p. 47 (edition work illustrated).

Scheise, 1989 signed and dated lower right M.K.89 colour pencil and pencil on headed hotel paper 21 x 29.6 cm.

© Estate of Martin Kippenberger, Galerie Gisela Capitain, Köln

© Estate of Martin Kippenberger, Galerie Gisela Capitain, Köln

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Lucio Fontana (1899-1968) Ambiente Spaziale con Tagli, 1960 Plaster , six cuts on white ground 400 x 814.3cm.

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Domenico Gnoli

Dickinson Highlights at Frieze Masters

Domenico Gnoli (1933-1970) Chemise sur la table, 1964 signed and dated on reverse “D Gnoli 1964” acrylic and sand on canvas 89 x 146 cm.

Inside of a Lady’s Shoe, 1969 signed, dated and inscribed on reverse D. Gnoli 1969 “Inside of a lady shoe” 1,80 x 1,20 acrylic and sand on canvas 180 x 120 cm.

The above works are for sale at Simon C. Dickinson Ltd.

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Theodore Géricault The Raft of the Medusa

During his short life and career, Martin Kippenberger produced a substantial body of work in a range of media including painting, drawing, print and photography.

He frequently appropriated and responded to art historical precedents, and his series The Raft of the Medusa was inspired by Theodore Géricault’s 1819 masterpiece Le Radeau de la Méduse (Musée du Louvre, Paris). In works from this series, Kippenberger depicted himself as individual figures from Géricault’s group composition, both posing for and subsequently working from photographs.

Kippenberger’s figures, like those of Géricault, are grotesque and provocative, but with the added element of self-portraiture. The project was one of the final ones undertaken by Kippenberger, who by this stage was already terminally ill; this fact lends added poignancy to the artist’s identification with the victims of a shipwreck lost at sea.

Martin Kippenberger (1953-1997)

Theodore Géricault (Rouen 1791-1824 Paris)

Motive No. 6, from the portfolio The Raft of Medusa, 1996

Head of a shipwrecked man

lithograph 76.2 cm x 56.83 cm.

with a signature believed to be a later addition GERICAULT (upper left) oil on canvas 56 x 45.7 cm.

© Estate of Martin Kippenberger, Galerie Gisela Capitain, Köln

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Yorkshire Sculpture Park at Dickinson, London 2015

Dickinson is pleased to announce an exhibition of sculptures by Joan Mir贸 to be held in our London Gallery in February and March 2015. Eight Mir贸 sculptures will be sold for the benefit of Yorkshire Sculpture Park (YSP), for their exhibitions and education programmes.

Established in 1977 and set in 18th Century landscaped parkland, YSP is an internationally renowned centre for Modern & Contemporary art.

The Sculpture Park brings together historic landscape with changing open-air sculpture displays, a programme of major, temporary gallery exhibitions, artist residences, and pioneering education and community work. Its collection includes a number of significant site-specific landscape commissions.

YSP was recently named Art Fund Museum of the Year 2014 in recognition of its outstanding exhibitions programme and community work.

Dickinson are delighted to be able to help raise for YSP.

MUSEUM OF THE YEAR 22.

Yorkshire Sculpture Park West Bretton Wakefield West Yorkshire WF4 4LG www.ysp.co.uk

Barbara Hepworth The Family of Man, 1970 Courtesy The Hepworth Estate, Tate Photo Marc Atkins

Giacometti Annette: Venise, 1960

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Mir贸: Sculptor, 2012 exhibition installation at Yorkshire Sculpture Park Photo Jonty Wilde 漏 Succession Miro/ ADAGP, Paris & DACS, London 2014 dickinson

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A r t © J a s p e r J o h n s / L i c e n s e d b y VA G A , N e w Yo r k , N Y © 2 0 1 4 I m a g e c o p y r i g h t T h e M e t ro p o l i t a n M u s e u m o f A r t / A r t R e s o u rc e / S c a l a , F l o re n c e © E s t a t e o f M a r t i n K i p p e n b e r g e r, G a l e r i e G i s e l a Capitain, Köln © Simon C. Dickinson Ltd © Succession Picasso/DACS, London 2014 All Rights Reserved Simon C. Dickinson Ltd

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