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Lot 2809
  • 2809

Brice Marden

Estimate
50,000 - 70,000 HKD
bidding is closed

Description

  • Brice Marden
  • 1, 2, 3, 4
  • sheets: approx. 971 by 735 mm 38 1/4 by 28 3/4 in
four screenprints, 1983, each signed in pencil, dated and inscribed 'I...PP 1/2', a printer's proof aside from the numbered edition of 32 with 5 artist's proofs, on Mino Kozo Kizuki paper, with the blindstamp of the printer and publisher Simca Artists, framed  (4 prints)

Provenance

Hallmark Fine Art Collection

Literature

Lewison, Jeremy. Brice Marden Prints 1961 – 1991, A Catalogue Raisonné. London: Tate Gallery Publications, 1992, pl. 38

Condition

The prints are in good condition, the full sheets. '2' with a slight ripple in the top corner of the sheet. '4' is unevenly printed on right side of sheet.Framed size: 104.3 x 80.5 cm; 41 x 31 3/4 in.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

“The rectangle is a great human invention.” Brice Marden, 1978

In the 1960s and 1970s, Brice Marden established his artistic career with his matte, monochromatic paintings, often wiꦛth multiple panels. As a painter and printmaker, Marden made significant contributions to the Minimalist aesthetic and achieved a balance between emotional intensity and formal simplicity in his works.

This prꦓint portfolio is dated in 1983, the same year 🎃that Brice Marden visited Asia for the first time. The gestural brushstrokes of the rectangular forms allude to the ink-wash effects of Asian painting. It is well-acknowledged that the grid structure of the calligraphy tradition inspired a dramatic shift in his style that resulted in subsequent decades of more gestural compositions.

An edition of these pri🐽nts is held in the permanent collection of the Museum of Modern Art, New York, and catalogued as Object No. 621.1983.1-4.