Ellsworth Kelly (1923-2015)
Please note that in addition to the regular Buyer’… Read more
Ellsworth Kelly (1923-2015)

Sweet Pea

Details
Ellsworth Kelly (1923-2015)
Sweet Pea
signé, titré et daté '"SWEAT [sic] PEA" 2 Kelly 1960/P 10.60' (au dos)
graphite sur papier
42 x 34 cm.
Réalisé en 1960.

signed, titled and dated '"SWEAT [sic] PEA" 2 Kelly 1960/P 10.60' (on the reverse)
graphite on paper
16 ½ x 13 3/8 in.
Executed in 1960.
Provenance
Matthew Marks Gallery, New York
Acquis auprès de celle-ci par le propriétaire actuel
Special Notice
Please note that in addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds).
Sale Room Notice
Veuillez noter que des frais additionnels de 5.5% TTC du prix d’adjudication seront prélevés en sus des frais habituels à la charge de l’acheteur. Ces frais additionnels seront remboursés à l’acheteur sur présentation d’une preuve d’exportation du lot hors de l’UE dans les délais légaux (se référer au chapitre sur la TVA).
Please note that in addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds).

Brought to you by

Lionel Gosset
Lionel Gosset

Lot Essay

« Les formes figuratives dominant les premières œuvres de Kelly faites à Paris devinrent la fondation sur laquelle ses formes abstraites sont basées. Il continua à travailler sur le sujet de la nature dans ses dessins de plantes, fruits et paysages sans – comme il l’a décrit – utiliser de lignes ‘inventées’. » Diane Waldman, Ellsworth Kelly: A Retrospective, Guggenheim New York, 1996

“Figurative forms, which dominated Kelly’s early work in Paris, became the foundation on which his abstract forms are based. He continued to work from nature in his drawings of plants, fruit, and landscape, without – as he described it – resorting to “invented” lines.” Diane Waldman, Ellsworth Kelly: A Retrospective, Guggenheim New York, 1996

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