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Robert Irwin Auction Price Results

Robert Irwin (1928)  Please Register/Login to access your Invaluable Alerts

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ROBERT IRWIN: UNTITLED

Lot 40: ROBERT IRWIN: UNTITLED

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Description: ROBERT IRWIN: UNTITLED Mixed media on board, c. 1951, signed 'Irwin' lower right. 38 x 26 in., 45 1/2 x 33 in. (frame).

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Painting by Robert Irwin

Lot 670: Painting by Robert Irwin

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Description: Robert Irwin (American, b. 1928), Boys in an Autumnal Landscape, oil on canvas, signed Irwin lower right, canvas: 35.75"h x 11.5"w, overall: 37.5"h x 13"w

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Painting by Robert Irwin

Lot 671: Painting by Robert Irwin

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Description: Robert Irwin (American, b. 1928), Boy Walking to Mailbox, oil on board, signed lower right, sight: 10"h x 10"w, overall (with frame): 16"h x 15.75"w

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Painting, Robert Irwin

Lot 2268: Painting, Robert Irwin

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Description: Attributed to Robert Irwin (American, b.1928), Three Children Flying Kites, circa 1950, oil on board, signed "Irwin" lower right, board: 36"h x 36"w, overall (with frame): 37.35''h x 37''w

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Painting by Robert Irwin

Lot 6298: Painting by Robert Irwin

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Description: Robert Irwin (American, b. 1928), Boy Walking to Mailbox, oil on board, signed lower right, sight: 10"h x 10"w, overall (with frame): 16"h x 15.75"w

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Lot 22: ROBERT IRWIN

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Description: UNTITLED oil on canvas on shaped wood veneer frame 82 1/2 by 84 1/2 in. 209.6 by 214.6 cm. Painted circa 1964-66. Untitled is one of ten large paintings in Irwin's famous "Dot" series which is critical to his exploration of the nature of art as a creative act. Throughout his career, Irwin explored radical changes in the subject and form of modern art, and the role of art in human existence. For Irwin, the importance of modern abstraction is the dissolution of the traditional figure/ground relationship in art. In addition, our preconceptions to recognize content only in relation to familiar imagery should not limit us in seeing the inherent meaning in different forms of art. For Irwin, the subject of art is not the object produced, but the process of thought and feeling by the artist and the viewer. "In this shift in form something more profound than a simple shift in style has taken place. The abstract sign, human-figure, has been replaced by the expanded responsibility for the individual artist/observer as actively charged with completing the full intent of the work of art - experientially." (Robert Irwin (exhibition catalogue for the Museum of Contemporary Art), Los Angeles, 1993, p. 25). Irwin views art as thought and perception rather than form. "That we make and remake (choose) our own reality (at least in part) may well be the only truly creative human action." (Robert Irwin, p. 21). Irwin rejected the Abstract Expressionism of the 1950s as "a "re-presentation', a second order of reality, whereas, I was after a first order of presence...a reduction of imagery to get at physicality, a reduction of metaphor to get at presence" (Robert Irwin, p. 56). In the early 1960s, Irwin produced "Line" paintings which consisted of thin horizontal lines built with a palette knife up from a ground of the same color. Perception of the lines, evident primarily due to tactile differences, was a challenge to the viewer. It is visually difficult to read the two lines of similar color value simultaneously. The visual confusion between line and surface, and the placement of the stretcher behind the painting, extended the visual experience of the art into the space of the viewer. The "Dot" paintings followed in the mid-1960s. Jeremy Gilbert-Rolfe wrote of Untitled (ca. 1964-1966) and the use of dots as a systematic optical device. "Irwin used to talk about Georges Seurat. Seurat... does I think provide a helpful point of reference and precedent for the pink and green dots which make up the surface of Untitled (1964-1966). Seurat provides one with the idea of atmosphere as a kind of order but also - a tendency confirmed in Irwin's work - of order expressed as molecular repetition being inevitably perceived as atmospheric." (p. 106). Ironically, the visual qualities of the work that dissolved the delineation between object and environment were enhanced by the unique shape of the painting as an object. "The dot paintings of 1964- 1966 foretell Irwin's eventual move beyond the canvas, for in their fields of dots, alternately red and green until their density dissipates towards the edges, Irwin exactingly crafted the energy of a field of light across a subtly convex surface. The canvas literally swelled toward the viewer, six inches at its greatest depth in the center. In place of imagery, of gesture, of illusionistic space, Irwin had arrived at energies, as the red and green dots countered each other, neutralized as color, but reverberant, striking one critc as "a memory or "after" image without the "before". Painting had veered into the territory that interested [Karl] Malevich when he declared that "solid matter does not exist in nature. There is only energy." ". (Sally Yard in Robert Irwin, p. 57). Provenance: Irving Blum Gallery, Los Angeles Acquired from the above circa 1967 Exhibited: Fullerton, California State University, Art Gallery, California Perceptions: Light and Space, 1979 Literature: Richard Koshalek and Kerry Brougher, Robert Irwin (exhibition catalogue for Museum of Contemporary Art), Los Angeles, 1993, p. 107-108, illustrated in color.

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Lot 28: PROPERTY OF THE PALM SPRINGS ART MUSEUM SOLD FOR

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Description: PROPERTY OF THE PALM SPRINGS ART MUSEUM SOLD FOR THE BENEFIT OF THE ACQUISITIONS FUND ROBERT IRWIN b.1928 UNTITLED signed and dated 57 oil on canvas 24 1/4 by 25 in. 61.6 by 63.5 cm.

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Lot 29: Robert Irwin (b. 1928)

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Description: DISC acrylic on aluminium diameter: 48in. 121.9cm. Executed in 1966-1967. Irwin began his career as an abstract painter, working in California in relative isolation from the East Coast art scene. His spare canvases explore painting's basic structure through a reductive vocabulary of straight lines or dots of color, specifically placed to alter the viewer's perception of space. As Irwin explains, "they worked very well in creating this physical space which was occupied by a perceptual kind of energy. But you were immediately aware of the confine...being held as it was firmly within that rectangle. And I had never examined the assumption as to why a painting exists within a frame." (Lawrence Wechsler, Seeing is Forgetting the Name of the Thing One Sees, A Life of Contemporary Artist, Robert Irwin, Berkeley and Los Angeles, 1982, p. 99). The Discs were Irwin's solution to his frustration with conventional painting. As he recalls, "The reason for the circular disc, as opposed to making them square, was that they eliminated the corners, corners being really powerful focal points, whereas what I was after was an evenness of presence" (Ibid, p. 101). Irwin spent months researching the optimum surface for the Discs, initially choosing translucent plastic. When the plastic began to warp, Irwin switched to aluminum, spraying it with lacquer in almost imperceptible gradations of color. Scientific and yet intensely poetic, the Discs blend the boundaries between painting and sculpture. Further, the Discs incorporate light and shadow, as well as activate the wall, which in traditional painting is a passive component. When Irwin installed the Discs he painted the wall, which is farthest from the viewer, the same color as the center of the disc, which is closest to the viewer. He also concentrated the density of the paint surface at the disc's center. When the work is illuminated by ambient light, as well as by four spotlights above and below it, the disc floats magically. Clover-shaped haloes radiate from the glowing orb subtlely altering the surrounding environment. This ethereal light has the potential to bodily affect the viewer, transporting us to a spiritual plane. "Shown correctly, Irwin's discs are otherworldly...Is it the disc seeming to dematerialize or the shadows taking on volume? There is an eerie, fluid sense of density, object and shadow playing in and out of copresence. White becoming color becoming shadow of white. Self-possession divulging iteself" (Ibid, p. 104). Provenance Pace Gallery, New York Mr. and Mrs. Burton Tremaine, Meriden Private collection, South Norwalk.

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Lot 29: Robert Irwin (b. 1928)

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Description: DISC acrylic on aluminium diameter: 48in. 121.9cm. Executed in 1966-1967. Irwin began his career as an abstract painter, working in California in relative isolation from the East Coast art scene. His spare canvases explore painting's basic structure through a reductive vocabulary of straight lines or dots of color, specifically placed to alter the viewer's perception of space. As Irwin explains, "they worked very well in creating this physical space which was occupied by a perceptual kind of energy. But you were immediately aware of the confine...being held as it was firmly within that rectangle. And I had never examined the assumption as to why a painting exists within a frame." (Lawrence Wechsler, Seeing is Forgetting the Name of the Thing One Sees, A Life of Contemporary Artist, Robert Irwin, Berkeley and Los Angeles, 1982, p. 99). The Discs were Irwin's solution to his frustration with conventional painting. As he recalls, "The reason for the circular disc, as opposed to making them square, was that they eliminated the corners, corners being really powerful focal points, whereas what I was after was an evenness of presence" (Ibid, p. 101). Irwin spent months researching the optimum surface for the Discs, initially choosing translucent plastic. When the plastic began to warp, Irwin switched to aluminum, spraying it with lacquer in almost imperceptible gradations of color. Scientific and yet intensely poetic, the Discs blend the boundaries between painting and sculpture. Further, the Discs incorporate light and shadow, as well as activate the wall, which in traditional painting is a passive component. When Irwin installed the Discs he painted the wall, which is farthest from the viewer, the same color as the center of the disc, which is closest to the viewer. He also concentrated the density of the paint surface at the disc's center. When the work is illuminated by ambient light, as well as by four spotlights above and below it, the disc floats magically. Clover-shaped haloes radiate from the glowing orb subtlely altering the surrounding environment. This ethereal light has the potential to bodily affect the viewer, transporting us to a spiritual plane. "Shown correctly, Irwin's discs are otherworldly...Is it the disc seeming to dematerialize or the shadows taking on volume? There is an eerie, fluid sense of density, object and shadow playing in and out of copresence. White becoming color becoming shadow of white. Self-possession divulging iteself" (Ibid, p. 104). Provenance Pace Gallery, New York Mr. and Mrs. Burton Tremaine, Meriden Private collection, South Norwalk.

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Robert Irwin (born 1928)

Lot 49: Robert Irwin (born 1928)

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Description: The Lucky U, 1959 oil on canvas70 1/4 x 83 1/4in (178.4 x 211.5cm)

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Robert Irwin (born 1928)

Lot 49: Robert Irwin (born 1928)

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Description: The Lucky U, 1959 oil on canvas70 1/4 x 83 1/4in (178.4 x 211.5cm)

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Lot 53: ROBERT IRWIN

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Description: UNTITLED acrylic lacquer on formed acrylic plastic diameter: 53 in. (134.6 cm.) Executed circa 1968. The discs (1966-1969) were the last painting objects made by Irwin before he turned to environmental and site specific art. With the discs and the placement of lights, Irwin further integrated the art object with its ambient space. The first discs were made of plastic but Irwin was dissatisfied with this material. He next constructed the discs from aluminum with sprayed pigment. The final medium, as in this disc, was cast polyester resin which returned to the translucent quality of plastic. Subtly painted in lacquer, the polyester resin discs have a horizontal, transparent band which appears to slice the disc in half, further integrating the object with the surrounding space. Provenance: Irving Blum Gallery, Los Angeles Acquired from the above circa 1969.

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Robert Irwin (b. 1928)

Lot 64: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Untitled oil on canvas 84½ x 82 7/8 in. (214.6 x 210.5 cm.) Painted in 1963-1964.

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Robert Irwin (b. 1928)

Lot 65: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Untitled oil on canvas 65 x 65 in. (165.1 x 165.1 cm.) Painted in 1960-1961.

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Robert Irwin (b. 1928)

Lot 72: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) >Untitled <br>signed and dated 'Irwin 56' (lower right) >oil and sand on board <br>33½ x 49½ in. (85 x 125.7 cm.) >Executed circa 1955. <br>

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 Robert Irwin , b.1928 Untitled oil on canvas

Lot 115: Robert Irwin , b.1928 Untitled oil on canvas

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Description: signed and dated 57 oil on canvas

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Lot 116: Robert Irwin , b. 1928 Ocean Park oil on canvas

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Description: oil on canvas

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Lot 146: IRWIN, ROBERT (1928)

Description: Untitled, 1969 Acrylic ().

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                                          Robert Irwin (b. 1928)

Lot 176: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) #3 x 6' - Four Fold brown and grey fluorescent light 72 x 16¼ x 4½in. (182.9 x 41.3 x 11.4cm.) Executed in 2011

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Lot 188: IRWIN, Robert (1928)

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Description: Untitled, c.1966-1967 Sculpture & sprayed acrylic lacquer/shaped aluminium x 59,8 lower right Illustrated.

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Lot 207: IRWIN, ROBERT (1928)

Description: Untitled, 1966-1967 Acrylic ().

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                                          Robert Irwin (b. 1928)

Lot 219: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Untitled oil and sand on board 33½ x 49½ in. (85 x 125.7 cm.) Executed circa 1955.

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                                          Robert Irwin (b. 1928)

Lot 220: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Untitled oil, sand and painted canvas collage on board 44¼ x 28¼ in. (112.3 x 71.7 cm.) Executed circa 1955.

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                                          Robert Irwin (b. 1928)

Lot 221: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Untitled signed 'Robert Irwin' (lower right) oil on board 23 1/8 x 25 5/8 in. (58.7 x 65.1 cm.) Painted circa 1955.

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Robert Irwin , Column

Lot 269: Robert Irwin , Column

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Description: acrylic

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Robert Irwin (b. 1928)

Lot 311: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Light Column clear acrylic resin 111 x 15 1/8 x 15 1/8 in. (281.9 x 38.4 x 38.4 cm.) Executed in 1970.

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Robert Irwin (b. 1928)

Lot 317: Robert Irwin (b. 1928)

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Description: Robert Irwin (b. 1928) Untitled signed and dated 'Irwin 57-58' (lower center); signed and dated again 'Robert Irwin 57-58' (on the reverse)oil on canvas 46¼ x 51 in. (117.4 x 129.5 cm.) Painted in 1957-1958.

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Robert Irwin (American, b.1928)

Lot 328: Robert Irwin (American, b.1928)

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Description: Untitled signed 'IRWIN' (lower right) and stamped on the reverse oil, cloth and burlap on board 10 x 10in (25.4 x 25.4cm)

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Lot 389: A LOUIS XVI STYLE THREE-PIECE BEDROOM SUITE mfg. by Royal Furniture Co., Robert W. Irwin, C. 1930's: a dressing table with

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Description: rectangular pierced gallery top with cross banded and inlaid border over central marquetry inlaid foliate and floral drawer flanked by 2 short drawers on cabriole legs with brass mounts, (30" h x 46" x 18 1/2"), a night stand with single drawer, brass mounts, (29 1/2" h x 16" x 13 1/2"), a bachelor's chest with five inlaid drawers, brass ring handles on short tapering spade feet, (50" h x 32" x 20"), AND A SABRE LEG SIDE CHAIR.

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Robert Irwin (American, born 1928) Untitled 10 x 10in (25.4 x 25.4cm)

Lot 2101: Robert Irwin (American, born 1928) Untitled 10 x 10in (25.4 x 25.4cm)

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Description: Untitled signed 'Irwin' (lower right) and stamped on the reverseoil, cloth and burlap on board10 x 10in (25.4 x 25.4cm)

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