Lot 8
  • 8

Martial Raysse

200,000 - 300,000 EUR
381,000 EUR
bidding is closed


  • Martial Raysse
  • Arbre
  • assemblage of plastic bottles and brushes mounted on metal stand

  • 174 x 71 x 43 cm; 68 1/2 x 27 15/16 x 16 15/16 in.
  • Executed in 1959-1960.
Cette oeuvre est inscrite à l'inventaire de l'Oeuvre de Martial Raysse sous le numéro IMR-0006


Collection Pierre Restany, Paris
Collection Marie-Aline et Jean-François Prat, Paris
Galerie Georges-Philippe et Nathalie Vallois, Paris 
The Mayor Gallery, London
Collection Marcel Brient, Paris (acquired from the above in 2000)
Sale: Sotheby's Paris, Collection Marcel Brient - La Page Française, 24 September 2012, lot 7
Collection Alain & Candice Fraiberger


Paris, Galerie Nationale du Jeu de Paume; Vienna, Museum Moderner Kunst, Stiftung Ludwig, Palais Lichtenstein; Valencia, IVAM, Centre Julio Gonzalez; Nîmes, Carré d'Art, Musée d'Art Contemporain, Martial Raysse, 1992-1993; catalogue, p. 44, illustrated in colour
Copenhagen, ARKEN Museum of Modern Art, Eoro Pop : A dialog with the US, 1999; catalogue, p. 43, illustrated in colour
London, The Mayor Gallery, Nouveau Réalisme, 2000; catalogue, no. 10, illustrated in colour
Neuilly-Sur-Seine, L'arbre qui ne meurt jamais,  21 March - 30 June 2013
Paris, Centre Pompidou, Martial Raysse, 1960-2014, 2014; catalogue, p. 76, illustrated in colour
Catherine Grenier, Martial Raysse, la rétrospectivein. Code Couleur 19, Paris, May 2014, p. 84, illustrated in colour
Minneapolis, Walker Art Center; Dallas Museum of Art; Philadelphia Museum of Art, International Pop, 11 April 2015 - 15 May, 2016; catalogue, p. 301, no. 94, illustrated in colour


Encore un instant de bonheur, 90 statues de Martial Raysse, Paris, 2008, p. 9, illustrated in colour
Martial Raysse, L'Exposition | The Exhibition, 1960-2014, 2014, Paris, p. 5, illustrated in colour
Connaissance des Arts Hors-Série, Martial Raysse, réstrospective 1960-2014, 2014, p. 23, illustrated in colour

Catalogue Note

Martial Raysse is indisputably one of the most talented and inventive artists of his generation. By establishing a new relationship to reality, integrating manufactured articles into his compositions, he presents himself as a veritable "archaeologist of the present" according to the terms of Pierre Restany, author of the constitutive declaration of Nouveau Réalisme signed by Raysse at Yves Klein's home on October 27 1960.

An assemblage of objects found in a supermarket, Arbre is not only the premonition of what will be the Nouveau Réalisme movement but also perfectly compatible with what was taking place across the Atlantic at the same time with artists such as Claes Oldenburg and Wayne Thiebaud, the standard-bearer of American Pop-Art. Like Oldenburg or Thiebaud, Raysse maintains that "supermarkets are the Museums of modern art" and that games, gadgets and other plastic utensils are the colourful flags of modernity. Metamorphosed into a tree, the bottles and brushes in flashy colours, organised according to a very personal geometry, replace the leaves in this composition that is both modest, intimate and the result of found treasures that are as enlightening as they are poetic.