150
150

PROPERTY FROM THE COLLECTIONS OF MICHAEL ASHER AND BETTY ASHER, SOLD TO BENEFIT THE MICHAEL ASHER FOUNDATION

Roy Lichtenstein
CERAMIC SCULPTURE 11
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150

PROPERTY FROM THE COLLECTIONS OF MICHAEL ASHER AND BETTY ASHER, SOLD TO BENEFIT THE MICHAEL ASHER FOUNDATION

Roy Lichtenstein
CERAMIC SCULPTURE 11
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拍品詳情

當代藝術日拍

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Roy Lichtenstein
1923-1997年
CERAMIC SCULPTURE 11
signed and dated 1965 on the underside
glazed ceramic
7 1/2 by 8 1/2 by 8 1/2 in. 19.1 by 21.6 by 21.6 cm.
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來源

Leo Castelli Gallery, New York (LC #365)
Collection of Betty Asher, Beverly Hills (acquired from the above in November 1965)
Collection of Michael Asher, Los Angeles (by descent from the above in 1994)
By descent from the above to the Michael Asher Foundation in 2013

展覽

Long Beach, California State University, The Art Galleries, Roy Lichtenstein: Ceramic Sculpture, February - March 1977, pl. 16, illustrated in color
Newport Harbor Art Museum, Betty Asher's Cups, December 1980 - January 1981, cover, illustrated in color
Santa Clara, Triton Museum of Art, Linn Pavilion, Betty Asher's Cups, April - May 1982
Pasadena, California Institute of Technology, Baxter Art Gallery, Contemporary Ceramic Vessels: Two Los Angeles Collections, January 1984, p. 7, illustrated
Tulsa, Philbrook Museum of Art; The Oakland Museum; Boston, The Museum of Fine Arts; The Chicago Public Library Cultural Center; The Orlando Museum of Art; Richmond, Virginia Museum of Fine Arts, The Eloquent Object, September 1987 - August 1989, p. 56, illustrated in color
New York, Solomon R. Guggenheim Museum; Los Angeles, Museum of Contemporary Art; Montreal, Museum of Fine Arts; Munich, Haus der Kunst; Hamburg, Deichtorhallen; Brussels, Palais des Beaux-Arts; Columbus, Wexner Center for the Arts, Roy Lichtenstein: A Retrospective, October 1993 - January 1996, pl. 247, p. 318, illustrated in color

相關資料

"There is really not that much difference aesthetically between two and three dimensions to me. I believe sculpture can be seen as a two-dimensional problem...As you turn the sculpture, or move your position, you continually perceive it differently. It’s the relationship of contrast to contrast, rather than volume to volume, which makes it work. So, even though I realize it is three-dimensional, it is always a two-dimensional relationship to me–or as two-dimensional as a drawing is."

Roy Lichtenstein

當代藝術日拍

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