239
239
Jean-Michel Basquiat
UNTITLED
Estimate
600,000800,000
LOT SOLD. 1,025,000 USD
JUMP TO LOT
239
Jean-Michel Basquiat
UNTITLED
Estimate
600,000800,000
LOT SOLD. 1,025,000 USD
JUMP TO LOT

Details & Cataloguing

Contemporary Art Day Auction

|
New York

Jean-Michel Basquiat
1960 - 1988
UNTITLED
graphite, oil stick, acrylic and sticker on paper
40 3/4 by 26 in. 103.5 by 66 cm.
Executed in 1988.
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Provenance

Galerie Yvon Lambert, Paris
Acquired by the present owner from the above

Exhibited

Paris, Galerie Yvon Lambert, Jean-Michel Basquiat, 1988
Villeneuve d'Ascq, Musée d'Art Moderne, Yvon Lambert Collectionne, January - April 1992, cat. no. 37, illustrated
Marseille, Musée Cantini, Jean-Michel Basquiat: Une Rétrospective, July - September 1992, p. 16, illustrated
Paris, Musée-Galerie de la Seita, Jean-Michel Basquiat: Peinture, Dessin, Écriture, December 1993 - February 1994, cat. no. 61, p. 88, illustrated
Paris, Fondation Dina Vierny-Musée Maillol, Jean-Michel Basquiat: Oeuvres sur papier, May - October 1997, p. 149, illustrated
Yokohama Museum of Art, Oeuvres sur papier et photographies. La collection Yvon Lambert, dialogue avec des artists contemporains, April - June 1998, p. 121, illustrated

Literature

Galerie Enrico Navarra, ed., Jean-Michel Basquiat, New York, 1999, p. 335, illustrated in color

Catalogue Note

"Many of his stylistic trademarks are themselves a recognizable part of the continuum of well-established African-American aesthetic traditions...the repeated blues refrain, jazz's improvisational rifting, and the sampling technique of rap...He had few black friends, even fewer black peers. No wonder he found his heroes in jazz geniuses like Charlie Parker [who he often refers to in his paintings as the word 'ornithology']. His repeated use of the copyright sign probably owes as much to Parker as to the cartoons he obsessively watched on television. (As with numerous other black musicians who were taken advantage of by the white music industry, Parker's failure to copyright his brilliant compositions cost him his royalties; the record companies profited from work which he did for the price of a recording session.)" Phoebe Hoban, Basquiat: A Quick Killing in Art, New York, 2004 

Contemporary Art Day Auction

|
New York