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Auction archive: Lot number 18

Mark Rothko

Estimate
US$10,000,000 - US$15,000,000
Price realised:
n. a.
Auction archive: Lot number 18

Mark Rothko

Estimate
US$10,000,000 - US$15,000,000
Price realised:
n. a.
Beschreibung:

PROPERTY FROM A PROMINENT AMERICAN COLLECTION Mark Rothko Untitled (Black on Gray) 1969-70 acrylic on canvas 68 x 64 in (172.7 x 162.6 cm.)
Provenance Estate of the Artist Marlborough A.G, Lichtenstein/Marlborough Gallery, London Galerie Beyeler, Basel Private Collection, Germany Jason McCoy, New York Will Ameringer Fine Art, New York Acquired from the above 1998 Exhibited Zurich, Kunsthhaus, Mark Rothko March 21 – May 9, 1971, then traveled to Berlin, Staatliche Museen Pruessischer Kulturbesitz, Neue Nationalgalerie (May 26 – July 19, 1971), Düsseldorf, Stádtische Kunsthalle (August 24 – October 3, 1971), Rotterdam, Museum Boymans van Beuningen (November 20, 1971 – January 2, 1972), London, Hayward Gallery (February 2 – March 12, 1972) Paris, Musée National d'Art Moderne (March 23 – May 8, 1972) Basel, Galerie Beyeler, Von Venus zu Venus, September - October , 1972 Basel, Galerie Beyeler, Paysages aprés l'Impressionnisme, September - November 1975 Berlin, Schloss Charlottenburg, Großbe Orangerie,Zeichen des Glaubens-Geist der Avantgarde: Religiöse Tendenzen in der Kunst des 20. Jahrhunderts, May - July 1980 Basel, Galerie Beyeler ,Homageto Francis Bacon June - September, 1992 Basel, Galerie Beyeler, Dream of the Absolute, June - September, 1994 Madrid, Galería Elvira Gonzales, Mark Rothko January - March, 1995 Philadelphia Museum of Art, February - July 2002 (on extended loan) Literature Mark Rothko exh. cat., Kunsthhaus, Zurich, 1971, no. 71, p. 115 (illustrated) Mark Rothko exh. cat., Musée National d'Art Moderne, Paris, 1972, no. 42, p. 41 (illustrated) K. Baker, "Mark Rothko: Marlborough Gallery,"Artforum, vol. 9, January 1971, p. 75 (illustrated) R. Goldwater, "Rothko's Black Paintings,"Art in America, vol. 59, March–April 1971, p. 61 (illustrated in color) M.M. Greiner, "Mark Rothko," Kunst-en Cultuuragenda, vol. 5, May 25, 1972, p. 8 (illustrated) Von Venus zu Venus, exh. cat., Galerie Beyeler, Basel, 1972, p. 83, no. 88 (illustrated) B. O'Doherty, American Masters: The Voice and the Myth, New York: Universe Press, 1973, p. 184 (illustrated) A. Everitt, Abstract Expressionism, New York: Barrons Educational Series, 1978, no. 16 (illustrated) Paysages aprés l'Impressionnisme, exh. cat., Galerie Beyeler, Basel, 1975, no. 62 (illustrated in color) Berlin, Schloss Charlottenburg, Großbe Orangerie, Zeichen des Glaubens-Geist der Avantgarde: Religiöse Tendenzen in der Kunst des 20. Jahrhunderts, May - July 1980, p.183, no. 184 (illustrated) D. Britt, ed., Modern Art: Impressionism to Post-Modernism, Boston, Toronto, London: Little, Brown and Company, 1989, p. 272 (illustrated) Homage to Francis Bacon exh. cat., Galerie Beyeler, Basel, 1992, no. 52 (illustrated) Dream of the Absolute, exh. cat., Galerie Beyeler, Basel, 1994, p. 45, no. 62 (illustrated, cover) D. Anfam, Mark Rothko The Works on Canvas: A Catalogue Raisonné, New Haven and London: Yale University Press, 1998, p. 670, no. 831 (illustrated) Video MARK ROTHKO 'Untitled (Black on Gray)', 1969-70 "It's through this almost philosophical reduction in terms of his possibilities that he's able to open up infinite worlds in terms of terms of tone, color, and emotion in the paintings." By the time of its execution, Black on Gray, 1969-70, found Rothko operating within a set of technical standards nearly unmatched in the pantheon of abstract painting. Rothko’s brushwork alone—especially within the space of his solidified colorings—is a wonder, both sparse in its application yet magnificent in its effect. Zach Miner, head of the Contemporary Art Evening Sale in New York, presents 'Untitled (Black on Gray)' from final cycle of work, 1969-70. Catalogue Essay “Some artists want to tell all like a confessional. I as a craftsman prefer to tell little. My pictures are indeed façades (as they have been called)…I do this only through shrewdness. There is more power in telling little than in telling all. Two things that painting is involved with: the uniqueness and clarity of the image and how much does one have to tell.” -Mark Rothko 1958 quoted in (D. Anfan, Mark Rothko—The Works on Canvas—Catalogue Raisonné, Ne

Auction archive: Lot number 18
Auction:
Datum:
11 Nov 2013
Auction house:
Phillips
New York
Beschreibung:

PROPERTY FROM A PROMINENT AMERICAN COLLECTION Mark Rothko Untitled (Black on Gray) 1969-70 acrylic on canvas 68 x 64 in (172.7 x 162.6 cm.)
Provenance Estate of the Artist Marlborough A.G, Lichtenstein/Marlborough Gallery, London Galerie Beyeler, Basel Private Collection, Germany Jason McCoy, New York Will Ameringer Fine Art, New York Acquired from the above 1998 Exhibited Zurich, Kunsthhaus, Mark Rothko March 21 – May 9, 1971, then traveled to Berlin, Staatliche Museen Pruessischer Kulturbesitz, Neue Nationalgalerie (May 26 – July 19, 1971), Düsseldorf, Stádtische Kunsthalle (August 24 – October 3, 1971), Rotterdam, Museum Boymans van Beuningen (November 20, 1971 – January 2, 1972), London, Hayward Gallery (February 2 – March 12, 1972) Paris, Musée National d'Art Moderne (March 23 – May 8, 1972) Basel, Galerie Beyeler, Von Venus zu Venus, September - October , 1972 Basel, Galerie Beyeler, Paysages aprés l'Impressionnisme, September - November 1975 Berlin, Schloss Charlottenburg, Großbe Orangerie,Zeichen des Glaubens-Geist der Avantgarde: Religiöse Tendenzen in der Kunst des 20. Jahrhunderts, May - July 1980 Basel, Galerie Beyeler ,Homageto Francis Bacon June - September, 1992 Basel, Galerie Beyeler, Dream of the Absolute, June - September, 1994 Madrid, Galería Elvira Gonzales, Mark Rothko January - March, 1995 Philadelphia Museum of Art, February - July 2002 (on extended loan) Literature Mark Rothko exh. cat., Kunsthhaus, Zurich, 1971, no. 71, p. 115 (illustrated) Mark Rothko exh. cat., Musée National d'Art Moderne, Paris, 1972, no. 42, p. 41 (illustrated) K. Baker, "Mark Rothko: Marlborough Gallery,"Artforum, vol. 9, January 1971, p. 75 (illustrated) R. Goldwater, "Rothko's Black Paintings,"Art in America, vol. 59, March–April 1971, p. 61 (illustrated in color) M.M. Greiner, "Mark Rothko," Kunst-en Cultuuragenda, vol. 5, May 25, 1972, p. 8 (illustrated) Von Venus zu Venus, exh. cat., Galerie Beyeler, Basel, 1972, p. 83, no. 88 (illustrated) B. O'Doherty, American Masters: The Voice and the Myth, New York: Universe Press, 1973, p. 184 (illustrated) A. Everitt, Abstract Expressionism, New York: Barrons Educational Series, 1978, no. 16 (illustrated) Paysages aprés l'Impressionnisme, exh. cat., Galerie Beyeler, Basel, 1975, no. 62 (illustrated in color) Berlin, Schloss Charlottenburg, Großbe Orangerie, Zeichen des Glaubens-Geist der Avantgarde: Religiöse Tendenzen in der Kunst des 20. Jahrhunderts, May - July 1980, p.183, no. 184 (illustrated) D. Britt, ed., Modern Art: Impressionism to Post-Modernism, Boston, Toronto, London: Little, Brown and Company, 1989, p. 272 (illustrated) Homage to Francis Bacon exh. cat., Galerie Beyeler, Basel, 1992, no. 52 (illustrated) Dream of the Absolute, exh. cat., Galerie Beyeler, Basel, 1994, p. 45, no. 62 (illustrated, cover) D. Anfam, Mark Rothko The Works on Canvas: A Catalogue Raisonné, New Haven and London: Yale University Press, 1998, p. 670, no. 831 (illustrated) Video MARK ROTHKO 'Untitled (Black on Gray)', 1969-70 "It's through this almost philosophical reduction in terms of his possibilities that he's able to open up infinite worlds in terms of terms of tone, color, and emotion in the paintings." By the time of its execution, Black on Gray, 1969-70, found Rothko operating within a set of technical standards nearly unmatched in the pantheon of abstract painting. Rothko’s brushwork alone—especially within the space of his solidified colorings—is a wonder, both sparse in its application yet magnificent in its effect. Zach Miner, head of the Contemporary Art Evening Sale in New York, presents 'Untitled (Black on Gray)' from final cycle of work, 1969-70. Catalogue Essay “Some artists want to tell all like a confessional. I as a craftsman prefer to tell little. My pictures are indeed façades (as they have been called)…I do this only through shrewdness. There is more power in telling little than in telling all. Two things that painting is involved with: the uniqueness and clarity of the image and how much does one have to tell.” -Mark Rothko 1958 quoted in (D. Anfan, Mark Rothko—The Works on Canvas—Catalogue Raisonné, Ne

Auction archive: Lot number 18
Auction:
Datum:
11 Nov 2013
Auction house:
Phillips
New York
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