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Willem De Kooning

Collage

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Willem De Kooning

Willem De Kooning

Collage

Collage

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Willem De Kooning

1904 - 1997


Collage

signed de Kooning (upper right)

oil and lacquer with thumbtacks on paper 

22 by 30 in. 55.9 by 76.2 cm.

Executed in 1950. 


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威廉・德庫寧

1904 - 1997年

《拼貼》


款識︰藝術家簽名 de Kooning(右上)

油彩、漆及圖釘紙本

22 x 30 英寸;55.9 x 76.2 公分

1950年作

For further information on the condition of this lot please contact kelsey.macpherson@sothebys.com
Sidney Janis Gallery, New York
Acquired from the above in April 1952 by the present owner
Thomas B. Hess, Abstract Painting:  Background and American Phase, New York, 1951, p. 159; p. 7, illustrated in color
Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, and Techniques, Toronto, 1967, no. 315, p. 222, illustrated
Gabriella Drudi, Willem de Kooning, Milan, 1972, no. 67, p. 34; p. 67, illustrated in color
Willem de Kooning and Harold Rosenberg, Willem de Kooning, New York, 1974, no. 85, p. 8; p. 150, illustrated in color
John Russell, “Two Artists Share the Carnegie International,” The New York Times, 18 November 1979, p. 40
William C. Seitz, Abstract Expressionist Painting in America, Washington, D.C., 1983, no. 31, pp. 20, 34, 47, 147 p. 77; n.p., illustrated in color
Sally Yard, Willem de Kooning, the First Twenty-six Years in New York, Ph.D. Dissertation, Princeton University, 1986, no. 223, p. 171; p. 172, illustrated
Florian Rodari, Collage: Painted, Cut & Torn Papers, Geneva, 1988, p. 134; p. 133, illustrated in color
Charles Brock, Describing Chaos: Willem de Kooning’s Collage Painting Asheville and its Relationship to Traditions of Description and Illusionism in Western Art, Masters of Arts thesis, University of Maryland, College Park, 1993, no. 21, pp. v, 31, 34-36; p. 99, illustrated 
Sally Yard, Willem de Kooning, New York, 1997, no. 37, p. 50; p. 51, illustrated in color
T.J. Clark, “In Defense of Abstract Expressionism,” in Rosalind Krauss, ed., October: The Second Decade, 1986-1996, Cambridge, 1997, p. 55, illustrated
David Anfam, “De Kooning, Bosch, and Bruegel: Some Fundamental Themes,” The Burlington Magazine, vol. 145, no. 1207, London, 2003, p. 711
Sally Yard, Willem de Kooning, Works, Writings and Interviews, Barcelona, 2007, p. 47; p. 55, illustrated in color
Daniel Louis Haxall, Cut and Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage, Ph.D. dissertation, The Pennsylvania State University, 2009, pp. 47-48
Valerie Hellstein, “Process and Memory in Women Singing II,Tate Research Publication, online, 2017, illustrated in color 
Simonetta Fraquelli, Soutine / de Kooning: Conversations in Paint, Philadelphia, 2021, p. 89, illustrated in color
New York, Wildenstein Gallery, XXth Century American Paintings, 1952, no. 39
Boston, School of the Museum of Fine Arts, De Kooning: 1935-1953, 1953, no. 12
Ithaca, Andrew Dickson White Museum of Art, Contemporary Painting and Sculpture from the Collection of Mr. and Mrs. David M. Solinger, 1956, no. 11
New York, Museum of Modern Art; Amsterdam, Stedelijk Museum; London, Tate Gallery; Chicago, Art Institute of Chicago; Los Angeles County Museum of Art, Willem de Kooning, 1968-69, no. 41, p. 162; p. 69, illustrated
Pittsburgh, Carnegie Institute Museum of Art, Pittsburgh International Series: Willem de Kooning, 1979-80, no. 19, p. 50, illustrated
New York, The Metropolitan Museum of Art, Willem de Kooning: Paintings, 1994-95
Ithaca, Cornell University, Herbert F. Johnson Museum of Art, The David M. Solinger Collection: Masterworks of Twentieth Century Art, 2002-03, pp. 34-35, illustrated
New York, Museum of Modern Art, de Kooning: a Retrospective, 2011-12, no. 68, pp. 211-212, illustrated in color
London, Royal Academy of Arts; Guggenheim Museum Bilbao, Abstract Expressionism, 2016-17, no. 143, p. 44; p. 291, illustrated in color (London), no. 113, p. 253, illustrated in color (Bilbao)