Lot 2809
  • 2809

Brice Marden

50,000 - 70,000 HKD
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  • Brice Marden
  • 1, 2, 3, 4
  • images: approx. 83.2 by 73.5 cm, 32 3/4  by 28 3/4  in. 
    sheets: 97.1 by 73.5 cm, 38 1/4  by 28 3/4  in. 
four screenprints, 1983, each signed in pencil, dated and inscribed 'I...PP 1/2', a printer's proof aside from the numbered edition of 32 with 5 artist's proofs, on Mino Kozo Kizuki paper, with the blindstamp of the printer and publisher Simca Artists, framed  (4 prints)


Hallmark Fine Art Collection


Lewison, Jeremy. Brice Marden Prints 1961 – 1991, A Catalogue Raisonné. London: Tate Gallery Publications, 1992, pl. 38

Catalogue Note

“The rectangle is a great human invention.” Brice Marden, 1978

In the 1960s and 1970s, Brice Marden established his artistic career with his matte, monochromatic paintings, often with multiple panels. As a painter and printmaker, Marden made significant contributions to the Minimalist aesthetic and achieved a balance between emotional intensity and formal simplicity in his works.

This print portfolio is dated in 1983, the same year that Brice Marden visited Asia for the first time. The gestural brushstrokes of the rectangular forms allude to the ink-wash effects of Asian painting. It is well-acknowledged that the grid structure of the calligraphy tradition inspired a dramatic shift in his style that resulted in subsequent decades of more gestural compositions.

An edition of these prints is held in the permanent collection of the Museum of Modern Art, New York, and catalogued as Object No. 621.1983.1-4.