Brice Marden

The set comprising six etchings with spitbite and sugarlift aquatint, 1991, each signed in pencil, dated and inscribed 'PP II', a printer's proof aside from the numbered edition of 35 with 15 artist's proofs, on Whatman paper, printed by Jennifer Melby, New York, published by the artist, framed (6 prints)

The prints are in good condition, with full margins. There are five fox marks in the bottom margin of plate 2. Plates 1 and 6 with tiny, unobtrusive fox marks in the top and bottom margins, respectively, visible upon close inspection. (The verso of each print with minor skinning in the corners.) Plate 4: A vertical band of pale discoloration on the right sheet edge.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Cold Mountain, Zen Series 1-6 is considered Brice Marden’s most important achievement in printmaking. The fluidity of line is reminiscent of the artist’s work in painting and drawing; the aesthetic recalls the action of Jackson Pollock’s drips or Eva Hesse’s sculptural strings.

The artist’s mastery of intaglio, Italian for incision, is apparent here and the use of aquatint, a technically challenging medium, yields great depth and texture. Taking a long stick previously utilized in his calligraphic drawings, Marden painted a sugar solution directly onto the copper etching plates. A stop-out varnish was then applied, followed by a rinse of the entire plate. The water lifted the sugar through the varnish revealing the copper beneath, and submersion in an acid bath incised the exposed areas. Ink was applied to the plate overall, then wiped away so that it remained only in the grooves where the acid bit down. The completed process produced compositions with richly etched lines moving through backgrounds of varying opacity.

Marden’s images seek to reflect his fascination with Eastern philosophies and literature. Hanshan (literally translated as Cold Mountain) was a 9^th century poet of the Chinese Tang Dynasty. His poetry evokes ethereal landscapes and documents the pursuit of Tao, or a manner of existing in complete harmony with the energy that surrounds us. The words proved influential to many generations, including Beat Generation writers such as Jack Kerouac, who dedicated The Dharma Bums to Hanshan. Decades later the poems inspired Marden in the creation of the Cold Mountain Series, prints whose imagery beautifully blends fragility with strength.