Small Seated Figure

成交价美元 687,750

估价

美元 180,000 – 美元 250,000

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Willem de Kooning (1904-1997)

Small Seated Figure

成交价美元 687,750

細明拍品专文

Willem de Kooning (1904-1997)
Small Seated Figure
signed and numbered 'de Kooning 3/7' (on the left leg)
bronze with brown patina
20 x 12 x 12 in. (52 x 30.4 x 30.4 cm.)
Executed in 1973. This work is number three from an edition of seven plus two artist's proofs.

Xavier Fourcade Gallery, New York
Private collection, Pittsburgh
LeFevre Gallery, New York
Anon. sale; Christie's, New York, 7 November 1990, lot 46
James Goodman Gallery, Inc., New York
Acquired from the above by the present owner, 1990

J. M. Jooseten, ed., 20 Jaar Verzanelem: aanwinsten Stedelijk Museum Amsterdam, 1963-1984, Amsterdam, 1984, p. 232, no. 444 (another example illustrated).
Matthew Marks Gallery, Willem de Kooning: Sculpture, New York, 1996, p. 58, no. 24 (another example illustrated).

Minneapolis, Walker Art Center; Ottawa, National Gallery Canada; Washington, D.C., The Phillips Collection; Buffalo, Albright-Knox Art Gallery; Houston, The Museum of Fine Arts and St. Louis, Washington University Gallery of Art, De Kooning: Drawings/Sculptures, March 1974 (another example exhibited).
Tokyo, Fuji Television Gallery and Paris, Galerie des Arts, Willem de Kooning, September 1975-October 1975, n.p., no. 40 (another example exhibited and illustrated).
New York, Fourcade, Droll, Inc., De Kooning: New Works--Paintings and Sculpture, October-December 1975, no. 25 (another example exhibited and illustrated).
West Palm Beach, Norton Gallery of Art, De Kooning: Paintings, Drawings, Sculpture 1967-1975, December 1975-February 1976, n.p., no. 29 (another example exhibited and illustrated).
Amsterdam, Stedelijk Museum; Wilhelm-Lehmbruck-Museum der Stadt Duisburg; Geneva, Cabinet des stampes, Musée d'Art d'Histoire, and Grenoble, Musée de Peinture et de Sculpture, Willem de Kooning: Beelden en Litho's March 1976-September 1977, n.p., no.b24 (another example exhibited and illustrated).
Edinburgh, Fruit Market Gallery and London, Serpentine Gallery, The Sculptures of De Kooning with Related Paintings, January 1978 (another example exhibited).
New York, Solomon R. Guggenheim Museum, Willem de Kooning in East Hampton, February-April 1978, p. 127, no. 96 (another example exhibited and illustrated).
Cedar Falls, University of Northern Iowa Gallery of Art; St. Louis Art Museum and Cincinnati, The Contemporary Art Center, de Kooning 1969-78, October 1978-April 1979, p. 48, no. 38 (another example exhibited and illustrated).
Pittsburgh, Museum of Art, Carnegie Institute, Willem de Kooning: Pittsburgh International Series, October 1979-January 1980, p. 124, no. 127 (another example exhibited and illustrated).
Amsterdam, Stedelijk Museum; Humlebaek, Louisiana Museum of Modern Art and Stockholm, Moderna Museet, Willem de Kooning: The North Atlantic Light, 1960-1983, May 1983-October 1983, p. 112, no. 72 (another example exhibited and illustrated).
Köln, Josef Haubrich Kunsthalle, Willem de Kooning: Skulpturen, September-October 1983, p. 76, no. 22 (another example exhibited and illustrated).
London, Anthony d'Offay Gallery, About Sculpture, Jan-March 1987, n.p. (another example exhibited and illustrated in color).
New York, Whitney Museum of American Art; Berlin, Akademie der Künste, and Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Willem de Kooning: Drawings, Paintings, Sculpture, December 1983-February 1984, p. 263, no. 279 (another example exhibited and illustrated).
New York, Matthew Marks Gallery and Mitchell-Innes & Nash,Willem de Kooning: Drawings and Sculpture, October-December 1998, pl. 62 (another example exhibited and illustrated).

荣誉呈献

Jennifer Yum

jyum@christies.com Tel: +1 212 468 7123

拍品专文

"De Kooning is the latest and I suppose the last of the series of great painters whose occasional work in three dimensions has enriched and even transformed the sculpture of the modern period. As with Daumier, Degas, and Picasso, de Kooning's talent is essentially linear: the figure imaged in painting calls out for its embodiment in sculpture. The implications of graphic suggestion of colume, once realized in clay, take on new power and energy, separate from their source on the flat surface, uninhibited by the sculptor's traditional concern with gravity and structure."

William Tucker, "On the Sculpture," New York, 1996, p. 45.