Seated Woman

细节

Willem de Kooning (1904-1997)
Seated Woman
signed, numbered and dated 'de Kooning 7/9 (c) 1969/1980' (on the back)
bronze with brown patina
26¾ x 39 x 21 in. (67.9 x 99 x 53.3 cm.)
Conceived in 1969 and cast in 1980. This work is number seven from an edition of nine plus two artist's proofs.

来源

L.A. Louver, Inc., Venice, CA
Acquired from the above by the present owner, 1985

出版

C. Ratcliff, "Architectural Digest Visits Andy Williams," Architectural Digest, July 1987, p. 44 (illustrated in color).
D. Waldman, Willem de Kooning, New York, 1988, p. 121 (another example illustrated).
J. Hobhouse, The Bride Stripped Bare: The Artist and the Nude in the Twentieth Century, New York, 1988, p. 258, no. 232 (another example illustrated in color).
Matthew Marks Gallery, Willem de Kooning: Sculpture, 1996, New York, p. 62, no. 28 (another example illustrated).
H. Cotter, "Unfurling a Life of Creative Exuberance," The New York Times, 16 September 2011, C28 (another example illustrated in color).

展览

New York, Xavier Fourcade, Twentieth Century Paintings and Sculpture: Brancusi to Lichtenstein, February-April 1978 (another example exhibited and illustrated).
San Francisco, Fuller Goldeen Gallery, Casting: A Survey of Cast Metal Sculpture, 1982, no. 26 (another example exhibited).
New York, Xavier Fourcade, Willem de Kooning: The Complete Sculpture 1969-1981, May-June 1983.
Cologne, Joseph-Haubrich-Kunsthalle, Willem de Kooning: Skulpturen, September-October 1983, pp. 80-81, no. 24 (another example exhibited). New York, Xavier Fourcade, Willem de Kooning: New Paintings, Sculpture and Drawings, 1984 (another example exhibited and illustrated in color).
Fort Collins, Colorado State University, Willem de Kooning: Recent Works, March 1984 (another example exhibited).
Paris, Galerie Templon, de Kooning, June-July 1984 (another example exhibited).
Katonah Gallery, Transformations, August-October 1984, no. 1 (another example illustrated).
Dusseldorf, Galerie Hans Strelow, de Kooning: Bilder, Skulpturen, Zeichnungen, September-October 1984 (another example exhibited).
Milan, Studio Marconi, de Kooning: dipinti, disegni, sculture, March-April 1985, p. 57 (another example exhibited and illustrated).
Lincoln, University of Nebraska, Sheldon Memorial Art Gallery; Kemper Museum of Contemporary Art and Des Moines Arts Center, Contemporary Bronze: Six in the Figurative Tradition: Willem de Kooning, Stephen deStaebler, Robert Graham, Manuel Neri, George Segal, Joe Shapiro, November 1985-June 1986, p. 10 (another example exhibited and illustrated in color).
University Park, Palmer Museum of Art, The Pennsylvania State University, Collecting with a Passion: The David and Gerry Pincus Collection, August-January 1994, pp. 3 and 10 (another example illustrated).
New York, Matthew Marks Gallery and Mitchell-Innes & Nash, Willem de Kooning: Drawings and Sculpture, October-December 1998, no. 57 (another example exhibited and illustrated).
New York, Acquavella Galleries, 20th Century Sculpture, April-May 2003, pl. 37 (another example exhibited and illustrated in color).
New York, The Museum of Modern Art, de Kooning: A Retrospective, September 2011-January 2012, p. 417, no. 165 (another example exhibited and illustrated in color).

荣誉呈献

Jennifer Yum

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

拍品专文

"It has become obvious over the years that the human figure is the real center of his art. The various times when he has departed from it have been episodes that, once they have been worked through, have allowed him to make closer and richer engagements with the figure. The sculpture helps us to see this. Its dark bronze gives a somber inflexion to the very women we know in the paintinsg, hilarious in pink, and calms their panic mood. Freestandingness helps to unravel the imagery... With each new appearance of the figure in his work, a haptic mode of perception is more and more in evidence, that is, a mode in which touch, body-feeling, and muscular sensation take precedence over vision. Differentiations of contour and texture, and potentials for action, dominate. Space takes on the scale of the body itself."

Andrew Forge, "De Kooning's Sculpture," Willem de Kooning: Sculpture, New York, 1996, p. 37.