Head II

細節

Willem de Kooning (1904-1997)
Head II
incised with the artist's signature and number 'de Kooning 5/7' (on the left side)
bronze with brown patina
14 7/8 x 13 3/8 x 4 1/8in. (37.7 x 34 x 10cm.)
Executed in 1972, this work is number five from an edition of seven

來源

Xavier Fourcade, Inc., New York.
Private Collection, Germany.
Anon. sale, Sotheby's London, 7 February 2001, lot 52.
Private Collection, London.

展覽

Minneapolis, Walker Art Center, de Kooning, Drawings, Sculptures, 1974-75, no. 145 (another from the edition exhibited). This exhibition later travelled to Ottawa, The National Gallery of Canada; Washington D.C., The Phillips Collection; Buffalo, Albright-Knox Art Gallery and Houston, The Museum of Fine Arts.
Tokyo, Fuji Television Gallery, Willem de Kooning, 1975, no. 42 (another from the edition exhibited, illustrated, unpaged).
Pittsburgh, Carnegie Museum of Art, Willem de Kooning, 1979-80, no. 122 (another from the edition exhibited, illustrated in colour, p. 139).
Cologne, Josef-Haubrich-Kunsthalle, Willem de Kooning: Skulpturen, 1983 (another from the edition exhibited, illustrated, p. 71).
New York, Whitney Museum of American Art, Willem de Kooning: Drawings, Paintings, Sculptures, 1983-84, no. 274 (another from the edition exhibited, illustrated, p. 258). This exhibition later travelled to Berlin, Akademie der Kunst and Paris, Musée National d'Art Moderne.
New York, Matthew Marks Gallery, Willem de Kooning, Sculpture, 1996, no. 20 (another from the edition exhibited, illustrated, p. 57). New York, Matthew Marks Gallery and Mitchell-Innes & Nash, Willem de Kooning: Drawing and Sculpture, 1998 (another from the edition exhibited, illustrated, p. 58).

注意事項

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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拍品專文

'What makes all of de Kooning's sculpture so rich-and what must modify all attempts at aesthetic analysis and psychological interpretation-is its strain of zestful, paradoxical humor. This is his equivalent of Rodin's electric sensuality and Giacometti's sly, dark irony, the idiosyncratic accent of the great modern artist. It is the emulsifying agent, so to speak, for many kinds of meaning. We have not been used, for some time, to an art of such challenging fullness... Nothing, at first glance, could seem so unnecessary than de Koonings sculpture. Even now, however, these works have begun to create their own necessity through the medium of our own experience. We may expect to have more to think, feel and say about them, as they work their slow effects on us, in the coming years.' (P. Schjeldahl, de Kooning Drawings/Sculptures, exh. cat., Minneapolis, Walker Art Center, 1974, p. 74).