Premium pages left without account:

Auction archive: Lot number 29

Jean-Michel Basquiat

Contemporary Art
22 Jun 2007
Estimate
£3,000,000 - £5,000,000
ca. US$5,958,378 - US$9,930,630
Price realised:
£4,948,000
ca. US$9,827,351
Auction archive: Lot number 29

Jean-Michel Basquiat

Contemporary Art
22 Jun 2007
Estimate
£3,000,000 - £5,000,000
ca. US$5,958,378 - US$9,930,630
Price realised:
£4,948,000
ca. US$9,827,351
Beschreibung:

Jean-Michel-Basquiat Grillo 1984 Oil, acrylic, oilstick, photocopy collage and nails on wood (in four parts). 96 x 211 1/2 x 18 in. (243.8 x 537.2 x 45.7 cm).
Provenance Mary Boone Gallery, New York; Collection Stefan Edlis and Gael Neeson, Chicago; Bruno Bischofberger, Zürich; Private collection, Switzerland Exhibited Chicago, The Art Institute of Chicago, 75th American Exhibition, March 8 - April 27, 1986, pp. 34-35; Paris, Galerie Fabien Boulakia, Basquiat, September 27 - November 3, 1990, p. 40-41; New York, Whitney Museum of American Art, October 23, 1992 - February 14, 1993; Housten, The Menil Collection, March 11 - May 9, Iowa, Des Moines Art Center, May 22 - August 15, Jean Michel Basquiat; New York, Tony Shafrazi Gallery, September 23 - December 31, 1999; Napoli, Castel Nuovo, Jean Michel Basquiat, December 19, 1999 - February 27, 2000; Rome, Chiostro del Bramante, Jean Michel Basquiat Dipinti, January 20 - March 17, 2002; Brooklyn, Brooklyn Museum, March 11 - June 5, 2005; Los Angeles, The Museum of Contemporary Art, July 17 - October 10, 2005; Houston, The Museum of Fine Arts, November 18, 2005 - February 12, 2006, Basquiat Literature H.H. Arnason, ‘Jean Michel Basquiat’, History of Modern Art: Painting, Sculpture, Architecture, Photography, No. 1052, p. 655 (illustrated); R. D. Marshall, J.L. Prat, Jean-Michel-Basquiat, Paris, 1996, 1st edition, Vol. 1, 1984, pp. 94-95 (illustrated); R. D. Marshall, J.L. Prat, Jean-Michel-Basquiat, 1996, 2nd editon, Vol. 2, pp. 230-231 (illustrated); Tony Schafrazi Gallery, ed., Basquiat, 1999, pp. 242 - 243 (illustrated); Chiostro del Bramante, ed., Jean Michel Basquiat Dipinti, 2002 (illustrated); M.Mayer, ed., Basquiat, NewYork, 2005, pp. 142-143 (illustrated) Catalogue Essay Often referred to as the artist-rebel of his time, Jean-Michel-Basquiat is one of the most important and influential figures within post-war 20th Century art. Transforming calculated observations into magnificent and substantial works, Grillo from 1984 is a piece of monumental scale and significance, where personal history and cultural legacy combine in a visceral sculptural display par excellence. The artist’s exceptional ability to execute a work of immense size and significance is fundamental to his power in transcending the individual to address broader issues, ultimately confronting the contemporary environment of his time. Essential to Grillo’s aim is the ability to charge his work with a sculptural identity, forcing spectators to confront the painting from various angles. Without a doubt, the artist was determined for the work to be experienced, rather than observed by any passive means. As with his entire oeuvre, Basquiat focused on the power of words and symbols to command a distinct expression of the time and his rich cultural legacy; the artist references in vivid means the African Diaspora mix his upbringing and heritage yielded, providing countless sources of artistic inspiration for his work. In Grillo, Basquiat challenges the spectators with strategically thought-out processes. Issuing the work with both pure and abstracted figuration, the artist consciously allows his symbolism to be identified partially, leaving the spectator in a state of ‘half-knowing’. By forcing the observers of his work to physically move around the piece, in order to appreciate and gain perspective of its grandeur and stature, the artist develops a visual and structural play on the idea of semiotics—where the signifier and the signified enter a reciprocal relationship, making one reliant on the other, yet completely dependant on the experience of the work itself. Grillo, Spanish for cricket, is comprised of four wooden panels which Basquiat labors in collage, oil stick, acrylic, oil, and spiky nails.The presence of two central protagonists, flaking the second panel on left and right is unmistakably a principle subject of the narrative; yet despite Basquiat’s prominent positioning of the figures, the work refuses a cohesive interpretation as the artist’s characteristic abstraction takes hold. Paper collage cutouts and graffiti text reveal passages in English and Spanish and

Auction archive: Lot number 29
Auction:
Datum:
22 Jun 2007
Auction house:
Phillips
22 June 2007, 4pm 5pm London
Beschreibung:

Jean-Michel-Basquiat Grillo 1984 Oil, acrylic, oilstick, photocopy collage and nails on wood (in four parts). 96 x 211 1/2 x 18 in. (243.8 x 537.2 x 45.7 cm).
Provenance Mary Boone Gallery, New York; Collection Stefan Edlis and Gael Neeson, Chicago; Bruno Bischofberger, Zürich; Private collection, Switzerland Exhibited Chicago, The Art Institute of Chicago, 75th American Exhibition, March 8 - April 27, 1986, pp. 34-35; Paris, Galerie Fabien Boulakia, Basquiat, September 27 - November 3, 1990, p. 40-41; New York, Whitney Museum of American Art, October 23, 1992 - February 14, 1993; Housten, The Menil Collection, March 11 - May 9, Iowa, Des Moines Art Center, May 22 - August 15, Jean Michel Basquiat; New York, Tony Shafrazi Gallery, September 23 - December 31, 1999; Napoli, Castel Nuovo, Jean Michel Basquiat, December 19, 1999 - February 27, 2000; Rome, Chiostro del Bramante, Jean Michel Basquiat Dipinti, January 20 - March 17, 2002; Brooklyn, Brooklyn Museum, March 11 - June 5, 2005; Los Angeles, The Museum of Contemporary Art, July 17 - October 10, 2005; Houston, The Museum of Fine Arts, November 18, 2005 - February 12, 2006, Basquiat Literature H.H. Arnason, ‘Jean Michel Basquiat’, History of Modern Art: Painting, Sculpture, Architecture, Photography, No. 1052, p. 655 (illustrated); R. D. Marshall, J.L. Prat, Jean-Michel-Basquiat, Paris, 1996, 1st edition, Vol. 1, 1984, pp. 94-95 (illustrated); R. D. Marshall, J.L. Prat, Jean-Michel-Basquiat, 1996, 2nd editon, Vol. 2, pp. 230-231 (illustrated); Tony Schafrazi Gallery, ed., Basquiat, 1999, pp. 242 - 243 (illustrated); Chiostro del Bramante, ed., Jean Michel Basquiat Dipinti, 2002 (illustrated); M.Mayer, ed., Basquiat, NewYork, 2005, pp. 142-143 (illustrated) Catalogue Essay Often referred to as the artist-rebel of his time, Jean-Michel-Basquiat is one of the most important and influential figures within post-war 20th Century art. Transforming calculated observations into magnificent and substantial works, Grillo from 1984 is a piece of monumental scale and significance, where personal history and cultural legacy combine in a visceral sculptural display par excellence. The artist’s exceptional ability to execute a work of immense size and significance is fundamental to his power in transcending the individual to address broader issues, ultimately confronting the contemporary environment of his time. Essential to Grillo’s aim is the ability to charge his work with a sculptural identity, forcing spectators to confront the painting from various angles. Without a doubt, the artist was determined for the work to be experienced, rather than observed by any passive means. As with his entire oeuvre, Basquiat focused on the power of words and symbols to command a distinct expression of the time and his rich cultural legacy; the artist references in vivid means the African Diaspora mix his upbringing and heritage yielded, providing countless sources of artistic inspiration for his work. In Grillo, Basquiat challenges the spectators with strategically thought-out processes. Issuing the work with both pure and abstracted figuration, the artist consciously allows his symbolism to be identified partially, leaving the spectator in a state of ‘half-knowing’. By forcing the observers of his work to physically move around the piece, in order to appreciate and gain perspective of its grandeur and stature, the artist develops a visual and structural play on the idea of semiotics—where the signifier and the signified enter a reciprocal relationship, making one reliant on the other, yet completely dependant on the experience of the work itself. Grillo, Spanish for cricket, is comprised of four wooden panels which Basquiat labors in collage, oil stick, acrylic, oil, and spiky nails.The presence of two central protagonists, flaking the second panel on left and right is unmistakably a principle subject of the narrative; yet despite Basquiat’s prominent positioning of the figures, the work refuses a cohesive interpretation as the artist’s characteristic abstraction takes hold. Paper collage cutouts and graffiti text reveal passages in English and Spanish and

Auction archive: Lot number 29
Auction:
Datum:
22 Jun 2007
Auction house:
Phillips
22 June 2007, 4pm 5pm London
Try LotSearch

Try LotSearch and its premium features for 7 days - without any costs!

  • Search lots and bid
  • Price database and artist analysis
  • Alerts for your searches
Create an alert now!

Be notified automatically about new items in upcoming auctions.

Create an alert