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Cecily Brown Auction Price Results

Cecily Brown (1969)  Please Register/Login to access your Invaluable Alerts

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Original Hand-Signed CECILY BROWN Poster

Lot 222: Original Hand-Signed CECILY BROWN Poster

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Description: Brown, Cecily 1969 -. Cecily Brown - Haus der Photographie. Photo/Offset 2009. Size 33 x 23.2 in. (84 x 59 cm). Printer: no information. Condition Details: (A) hand-signed by the artist in pen at the bottom.

Condition Report: (A) hand-signed by the artist in pen at the bottom

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Cecily Brown (b.1969) Untitled I & II two pigment

Lot 301: Cecily Brown (b.1969) Untitled I & II two pigment

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Description: Cecily Brown (b.1969) Untitled I & II two pigment prints in colours, 2012, both signed in black ink and numbered 29/250 on the printed justification card, both on wove paper, with full margins, both 333 x 233mm (13 1/8 x 9 1/8in)

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Cecily Brown (b.1969) Untitled I pigment print in

Lot 352: Cecily Brown (b.1969) Untitled I pigment print in

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Description: Cecily Brown (b.1969) Untitled I pigment print in colours, 2012, signed in black ink and numbered 29/250 on the printed justification card, on wove paper, with full margins, 333 x 233 mm (13 1/8 x 9 1/8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Cecily Brown (b.1969) Untitled II pigment print in

Lot 353: Cecily Brown (b.1969) Untitled II pigment print in

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Description: Cecily Brown (b.1969) Untitled II pigment print in colours, 2012, signed in black ink and numbered 29/250 on the printed justification card, on wove paper, with full margins, 333 x 233 mm (13 1/8 x 9 1/8 in) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Lot 1: Cecily Brown

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Cecily Brown , b. 1969 Untitled # 23 oil on canvas

Lot 1: Cecily Brown , b. 1969 Untitled # 23 oil on canvas

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Description: oil on canvas

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The Pyjama Game

Lot 2: The Pyjama Game

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Description: Cecily Brown (b. 1969) The Pyjama Game signed twice, titled and dated twice 'Cecily Brown 97-98 the Pyjama Game' (on the reverse) oil on canvas 76 x 98 in. (183 x 249 cm.) Painted in 1997-1998.

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Cecily Brown , Guys and Dolls

Lot 2: Cecily Brown , Guys and Dolls

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Description: signed, titled and dated 97-98 on the reverse; signed and dated 98 on the stretcher oil on canvas

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CECILY BROWN

Lot 3: CECILY BROWN

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Description: B. 1969HIGH SOCIETY76 x 98 in. 193 x 249 cm.signed, titled and dated 97-98 on the reverse; signed and dated on the stretcheroil on canvasPROVENANCEDeitch Projects, New YorkAcquired by the present owner from the above in 1998EXHIBITEDNew York, Deitch Projects, Cecily Brown: High Society, April - May 1998LITERATUREExh. Cat., Oxford, Modern Art, Cecily Brown: Paintings, 2005, fig. no. 1, p. 49, illustrated in color NOTEHigh Society was the centerpiece and title painting from Cecily Brown's second solo show at Deitch Projects in New York in 1998, a showcase which precipitated her rapid rise to celebrity and international recognition. While the artist considers the series of works exhibited one year prior to be her first mature paintings, it is not until the present series that we experience the full carnal physicality of her sexually charged surfaces in which the human form is fragmented, distorted and fetishized to this degree of priapic potency.Unlike the previous series which employed an iconography of bunny rabbits as incongruous human surrogates in order to subtly diffuse and displace the implicit violence of the sexual scenes, in the High Society paintings the bunnies are metamorphosed into human figures in an orgiastic maelstrom of contorted limbs and fleshy orifices. Named after the 1956 Hollywood musical starring Bing Crosby and Grace Kelly, High Society ironically draws on the traditional Broadway genre where illicit romance and repressed passion are directly veiled within cultivated codes of social etiquette. From among the turbulent coterie of coital bodies, we glimpse men in tails and top hats, the decadent fashions that hark back to a bygone age of feigned innocence, incongruously juxtaposed with Brown's explicit idiom gleaned from sources as diverse as seventeenth-century erotica and hardcore pornography.Combining figuration with abstraction, Brown fractures and buries her explicit erotic imagery in a vortex of frenetic strokes and scrapes. In this picture, the analogy between painting and sexual intercourse is complete with the literal equation of sensuous paint with sensuous body. Insinuating physical experience, Brown's pigments become malleable and voluptuous substitutes for flesh itself and the blurred lines, swipes and trails of paint materialize the movement of the climactic body, a latter day analogue to Yves Klein's Anthropometries. Up close, the surface fragments into impossibly energetic, random gestures and orgasmic marks; Brown holds her seductive, creamy layers of pigment in exquisite tension with the violence of her imagery. Expanding the tradition of Expressionism, she engages with the lexis and praxis of painting, drawing her influences from the carnal quality of paint that links Chaim Soutine, Willem de Kooning and Francis Bacon, putting a feminine twist on a male dominated art history that she encountered during her academic training at London's Slade School of Fine Art. In High Society, Brown has taken the sexual power and energy that formerly was the exclusive domain of the Abstract Expressionist male painters and unashamedly claimed it as her own.

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Lot 4: CECILY BROWN b.1969 UNITITLED (STUDY NO. 15)

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Description: CECILY BROWN b.1969 UNITITLED (STUDY NO. 15) signed and dated 1999 on the reverse watercolor on paper 12 1/2 by 12 1/2 in. 31.8 by 31.8 cm.

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CECILY BROWN  Black Painting No. 6, 2003

Lot 7: CECILY BROWN Black Painting No. 6, 2003

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Description: CECILY BROWN Black Painting No. 6, 2003

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CECILY BROWN

Lot 8: CECILY BROWN

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Description: The Torment of St. Anthony

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Cecily Brown (born 1969) Untitled 84 Drawings (Four Letter Heaven) 1995 each work is numbered and five are inscribed as follows: (no. 1) 2's, (no. 31) -1s, (no. 39) >2s, (no. 40) 2s and (no. 47) >1s ink on paper, in 84 parts Each: 12.5 by 16.3

Lot 9: Cecily Brown (born 1969) Untitled 84 Drawings (Four Letter Heaven) 1995 each work is numbered and five are inscribed as follows: (no. 1) 2's, (no. 31) -1s, (no. 39) >2s, (no. 40) 2s and (no. 47) >1s ink on paper, in 84 parts Each: 12.5 by 16.3

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Description: Untitled 84 Drawings (Four Letter Heaven) 1995 each work is numbered and five are inscribed as follows: (no. 1) 2's, (no. 31) -1s, (no. 39) >2s, (no. 40) 2s and (no. 47) >1s ink on paper, in 84 parts Each: 12.5 by 16.3 cm. 4 15/16 by 6 7/16 in.This work was executed in 1995.

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                                        Cecily Brown (b. 1969)

Lot 12: Cecily Brown (b. 1969)

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Description: Cecily Brown (b. 1969) You Can't Make This Up signed and dated 'Cecily Brown 2011' (on the reverse) oil on canvas 55 x 77 in. (139.7 x 195.5 cm.) Painted in 2011.

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 - Cecily Brown , b. 1969 Lured oil on canvas

Lot 13: - Cecily Brown , b. 1969 Lured oil on canvas

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Description: signed, titled and dated 98-99 on the reverse oil on canvas

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CECILY BROWN

Lot 14: CECILY BROWN

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Description: I Will Not Paint Any More Boring Leaves (2) Signed and dated ‘Cecily Brown 2004’ on the reverse.

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CECILY BROWN

Lot 15: CECILY BROWN

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Description: Park Each signed and dated ‘Cecily Brown 2004’ on the reverse.

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Cecily Brown (British, b. 1969) Paranoia Man in Cheap Shit Room, 2005, edition of 120. Signed and dated

Lot 22: Cecily Brown (British, b. 1969) Paranoia Man in Cheap Shit Room, 2005, edition of 120. Signed and dated "Cecily Brown '05" in pencil l

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Description: Cecily Brown (British, b. 1969) Paranoia Man in Cheap Shit Room, 2005, edition of 120. Signed and dated "Cecily Brown '05" in pencil l.r., numbered "23/120" in pencil l.l. Aquatint with spitbright on yellow chine collé, sheet size 16 x 13 in. (40.7 x 33.0 cm), unmatted, unframed. Condition: Crease in l.l. corner.

Condition Report: The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.

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JAN LIEVENS (Leiden 1607-1674 Amsterdam)

Lot 23: JAN LIEVENS (Leiden 1607-1674 Amsterdam)

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Description: Portrait of a Lady, three-quarter-length, in a black dress with a white lace collar and cuffs, a fan in her right hand, a garden beyond signed with initials and dated 'I.L.1657' (lower left) oil on canvas 47.5 x 39 in. (120.6 x 99 cm.) PROVENANCE with Central Galleries, New York. LITERATURE H. Schneider, Jan Lievens. Sein Leben und seine Werke, Haarlem, 1932, no. 293 and no. LXXXI (mistakenly given two catalogue numbers; the second states the work is 'not painted by Lievens'). H. Schneider and R.E.O. Ekkart, Jan Lievens. Sein Leben und seine Werke, Amsterdam, 1973, no. 293 (with correction to Schneider 1932: the two numbers are now correctly identified with the same work) S. Jacob, in the exhibition catalogue, Jan Lievens. Ein Maler im Schatten Rembrandts, Herzog Anton Ulrich-Museum, Brunswick, 1979, pp. 21, 115 and 122. C. Brown, 'Jan Lievens at Brunswick', The Burlington Magazine, CXXI, 1979, p. 745. J. Michalkowa, 'Nie tylko w cieniu Rembrandta. O Brunszwieckiej Wystawie Jana Lievensa', Biuletyn Historii Sztuki, 42, 1980. W. Sumowski, Gem„lde der Rembrandt-Sch쳌ler, III, Landau, 1983, no. 1292 and p. 1769. EXHIBITION Raleigh, The North Carolina Museum of Art, Rembrandt and his pupils, 1956, no. 67. Montreal, The Montreal Museum of Fine Arts, and Toronto, Art Gallery of Ontario, Rembrandt and his pupils: A loan exhibition of paintings commemorating the 300th anniversary of Rembrandt, 1969, no. 88. Tel Aviv, The Tel Aviv Museum of Art, Jan Lievens: The Sacrifice of Isaac, 17 November 1997-15 February 1998, p. 32, no. 2. NOTES A painter and draftsman of international renown, Jan Lievens was born in Leiden in 1607, where he began his studies with a local master, Joris van Schooten in 1615. Two years later, at the age of only ten, he went to Amsterdam to study with Pieter Lastman, returning to his home town in 1619. The period 1625-1631/32 was crucial for his development: during these years he worked closely with his contemporary Rembrandt van Rijn, another Leiden native. It is not certain if the two artists shared a studio: we do know, however, that they engaged in 'creative competition' -- painting the same subjects and figures, using the same models and techniques -- and that they painted portraits of each other on several occasions. Well-known pictures by Lievens from this period include his Portrait of Rembrandt, of c.1629 (Rijksmuseum, Amsterdam) and Job on the dunghill (National Gallery of Canada, Ottawa). In 1629, Charles I's agent in The Hague, Robert Kerr, bought paintngs from both Lievens and Rembrandt, which he later presented to the English king. In 1631/32 Rembrandt left from Amsterdam while Lievens departed for England in 1632. He remained in Britain until 1635, painting portraits of the royal family and other members of the court, and it was there that he met van Dyck, who made a portrait-engraving of him. A self-portrait, presumably from this period, is now in the National Gallery, London. In 1635 Lievens moved to Antwerp, where he worked as a portraitist for court circles, the church and the nobility. He adopted the elegant style then popular in Antwerp, and was particularly influenced by the work of van Dyck. In 1644 he established himself in Amsterdam, where his portraits remained much in demand among the city's elite. Important commissions strengthened his reputation: in 1650, together with Jacob Jordaens and Theordoor van Thulden, he was given the prestigious task of decorating the Oranjezaal at Huis ten Bosch near The Hague. In 1653-54 he spent time at the court of the Grand Elector in Potsdam, where he painted at least two chimney-pieces for the prince's palace in Oranienburg, and in 1656 he was commissioned to paint a Quintus Fabius Maximus for the new Town Hall in Amsterdam. He died in Amsterdam in 1674. The present work, dated 1650, comes from Lieven's Amsterdam period, when he was mainly painting members of the urban elite in the courtly Flemish manner that he had learned from van Dyck in particular. The sitter, who, to judge from her pearl necklace, is clearly a woman of wealth and prestige, is probably one such client, although her identity is as yet unknown. It is interesting to note that, while the background of trees is typical for Lievens, the rusticated wall is found in only one other work by the artist, a drawing of a portrait of Andries de Graaf in the Tylers Museum in Haarlem.

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Suddenly Last Summer, 1999

Lot 24: Suddenly Last Summer, 1999

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Description: Suddenly Last Summer, 1999Oil on linen. 100 x 110 1/4 in. (254 x 280 cm).  Signed and dated “Cecily Brown 1999” on the reverse.

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(ART) Brown, Cecily (British, b. 1969)

Lot 24: (ART) Brown, Cecily (British, b. 1969)

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Description: (ART) Brown, Cecily (British, b. 1969) Untitled. n.p., 1997 A 28 page sketchbook of pen and ink and wash sketches. Dated Dec. 26th '97 on inside front cover. Unsigned.

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CECILY BROWN The Girl Who Had Everything, 1998

Lot 25: CECILY BROWN The Girl Who Had Everything, 1998

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Description: CECILY BROWN The Girl Who Had Everything, 1998

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Cecily Brown (born 1969)

Lot 25: Cecily Brown (born 1969)

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Description: Untitled 84 Drawings (Four Letter Heaven), 1995 each work is numbered and five are inscribed as follows: (no. 1) 2's, (no. 31) -1s, (no. 39) >2s, (no. 40) 2s and (no. 47) >1sink on paper, in 84 partseach: 4 15/16 x 6 7/16in. (12.5 x 16.3cm)

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CECILY BROWN Things Could Be Different, But

Lot 27: CECILY BROWN Things Could Be Different, But

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Description: CECILY BROWN Things Could Be Different, But They're Not, 2007 Diptych: oil on linen. 17 x 12 1/2 in. (43.2 x 31.8 cm) each; 17 x 25 in. (43.2 x 63.5) overall. Signed and dated "Brown 2007" on the reverse of left panel; signed and dated twice "Cecily Brown 2007" on the reverse and on stretcher of right panel.

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CECILY BROWN

Lot 32: CECILY BROWN

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Description: B. 1969SINGLE ROOM FURNISHED152.4 by 190.5cm.; 60 by 75in.oil on canvasExecuted in 2000.PROVENANCEContemporary Fine Arts, Berlin Acquired directly from the above by the present owner in 2000EXHIBITEDBerlin, Contemporary Fine Arts, Cecily Brown, Days of Heaven, 2001LITERATUREFlash Art International, November-December 2000, no. 215, illustrated in colour on the coverNOTEIntentionally provocative, sexually charged and allegorical, Single Room Furnished executed in 2000, takes its title from a 1968 Jayne Mansfield movie about an abandoned pregnant woman, who eventually turns to prostitution after a string of heartbreaks. This lush and sensual work is densely layered with meaning not only in its depiction but also in its stimulus; a film with moralistic undertones, produced at a period of social change in the Western world, when artists like de Kooning were creating sexually confrontational works such as The Visit (above). Cecily Brown, acutely aware of the borrowing and referential play, self-consciously engages with the symbolic realm, characteristically putting a feminine twist on a male dominated art history.Commencing with a visual cue then drawing upon numerous impulses, feelings and memories, Brown's passions explode onto the canvas with a loose, watery but exuberant brushstroke, creating a scene that at the same time exudes with sensuality and brutality. The woman's face appears tumid and darkly flushed with desire; her body by contrast, is surprisingly white, conveying an astonishing sensation of nakedness. Although few details are sketched in, the dark paint effectively embodies a male figure and the contrasting whiteness of the female in turn, set against the lush reds and pinks of the background serves as a foil for the focal point of the painting. The lustrous texture of wet on wet paint and the blending and blurring of colours give life and motion to the scene, insinuating rather than delineating the writhing of bodies. Brown brilliantly evokes a tangible, visceral sensation in this work through its blurred, splattered palette which melts the figures into the backdrop, and through the succulent swirls of rich pigment which assumes a vitality of its own, further enhancing the inimitable physical quality of the work.

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CECILY BROWN Sweetie, 2001

Lot 33: CECILY BROWN Sweetie, 2001

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Description: CECILY BROWN Sweetie, 2001

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CECILY BROWN

Lot 38: CECILY BROWN

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Description: CECILY BROWN B. 1969 SUDDENLY LAST SUMMER signed and dated 1999 on the reverse oil on canvas 100 x 110 in. 254 x 280 cm.

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Untitled

Lot 39: Untitled

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Description: Cecily Brown (b. 1969) Untitled signed and dated 'Cecily Rose Brown 96' (on the reverse); signed and dated 'Cecily Rose Brown 96' (on the overlap)oil on canvas 60 1/8 x 48in. (152.8 x 122cm.) Painted in 1996

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 Cecily Brown , b. 1969 Untitled monotype on paper

Lot 42: Cecily Brown , b. 1969 Untitled monotype on paper

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Description: monotype on paper

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 Cecily Brown , b. 1969 Untitled oil on canvas

Lot 43: Cecily Brown , b. 1969 Untitled oil on canvas

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Description: signed and dated 96 on the reverse; signed, dated and dedicated on the stretcher oil on canvas

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Contemporary Art: CECILY BROWN Cottage No 3, 1991

Lot 46: Contemporary Art: CECILY BROWN Cottage No 3, 1991

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Description: Contemporary Art: CECILY BROWN Cottage No 3, 1991

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 Cecily Brown , b.1969 Girls Eating Birds oil on canvas in three parts

Lot 47: Cecily Brown , b.1969 Girls Eating Birds oil on canvas in three parts

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Description: signed and dated 04 on the reverse of each panel oil on canvas in three parts

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Lot 52: Cecily Brown (b. 1969)

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Description: Cecily Brown (b. 1969) Untitled signed and dated 'Cecily Rose Brown 97' (on the reverse); signed again and dated again 'Cecily Brown 97' (on the stretcher)oil on canvas 48 x 60 in. (121.9 x 152.4 cm.) Painted in 1997.

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Cecily Brown (b. 1969)

Lot 55: Cecily Brown (b. 1969)

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Description: Cecily Brown (b. 1969) Untitled signed and dated 'Cecily Brown 2001' (on the reverse) oil on canvas 90 x 100in. (228.6 x 254cm.) Painted in 2001

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 - Cecily Brown , Kiss Me Stupid Canvas, Oil

Lot 57: - Cecily Brown , Kiss Me Stupid Canvas, Oil

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Description: signed and dated 99 on the reverse oil on canvas

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CECILY BROWN (B. 1969)

Lot 61: CECILY BROWN (B. 1969)

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Description: signed and dated 97-98 on the reverse and on the stretcher oil on linen

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fm - Cecily Brown , Sentimental Fool

Lot 62: fm - Cecily Brown , Sentimental Fool

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Description: oil on canvas

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Cecily Brown (b. 1969)

Lot 63: Cecily Brown (b. 1969)

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Description: Cecily Brown (b. 1969) 16 animation cells from "Four Letter Heaven" 16 works--watercolor, ink, colored pencil on paper each: 4 x 4 in. (10 x 10 cm.) Executed circa 1994.

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Eyes Wide Shut

Lot 63: Eyes Wide Shut

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Description: Cecily Brown (b. 1969) Eyes Wide Shut signed 'Cecily' (lower left); signed again and dated 'Cecily Brown 2001' (on the reverse)oil on canvas 80 x 84 in. (203 x 213.5 cm.) Painted in 2001.

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No Image Available

Lot 64: Attributed to Rembrandt Harmensz. van Rijn

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Description: Leiden 1606 - 1669 Amsterdam portrait of a bearded gentleman standing in an archway signed and dated lower right: Rem/f.164- oil on poplar panel 106 by 78.7 cm.; 41 3/4 by 31 in. We are grateful to Dr Christopher Brown for the following catalogue entry. Dr. Brown was co-curator of the exhibitions: Art in the Making - Rembrandt (London, National Gallery, 1988-89) and Rembrandt: The Master and his Workshop (Berlin, Gemaldegalerie; Amsterdam, Rijksmuseum; and London, National Gallery, 1991-2). This important portrait was painted by Rembrandt in the early 1640's. It is signed by the artist and the first three digits of the date can be read: the fourth digit was probably a 1. Ten years earlier Rembrandt had arrived in Amsterdam from his native Leiden and had devoted himself almost entirely to portraiture. In the early and middle years of the 1630s he was the most successful portrait painter in the city and had responded to the enormous demand for his work by painting in a relatively short time a great number of portraits which display the variations in quality that such hectic activity inevitably produced. However, his output of portraits slackened in the late 1630s and by the early 1640s he was taking relatively few commissions. He was very selective about these commissions and many of his sitters were friends or acquaintances. Perhaps the finest portraits of the early 1640s are those of Nicolaes van Bambeeck and his wife Agatha Bas, who knew the painter and whom he painted in 1641. Today they are in the Musees Royaux in Brussels and the Royal Collection in London respectively. It is with the portrait of Nicolaes van Bambeeck that the present painting must be compared and there are marked similarities in the pose, the powerful characterisation of the features, the use of a strong fall of light on the left side of the face and the detailed treatment of the hair and beard, the ruff and richly embroidered black costume. The picture is painted on poplar which although frequently used as a support in Italy is not often encountered in a Dutch 17th Century painting. It was, however, used occasionally in Rembrandt's studio in the years around 1640 and is the support of the Portrait of a Young Woman, in the Rijksmuseum (Bredius 356, Corpus III, pp. 312-20, no. A131, signed and dated 1639). It has been suggested that the present painting,which is roughly the same size as the Rijksmuseum painting, was a pair to it. The sitter stands beneath an arch and faces to the left while the man in the present painting stands beneath an arch and faces right. The erstwhile identification of the Rijksmuseum portrait as Maria Trip is no longer generally accepted; nonetheless it is possible that the present portrait was commissioned as a pendant to mark the marriage of the sitters. There are several significant pentimenti in this portrait. The former outline of the brim of the hat has become visible to the naked eye and X-rays reveal important changes to the left hand which is no longer visible. Originally it was slightly lower and to the right of the right hand but it was later covered by the black coat during Rembrandt's completion of the painting. The painting was last cleaned and restored by John Brealey in 1973. He noted that the painting entirely conforms to Rembrandt's style of the early 1640's and is a fine well preserved example of his work. He had no doubt that the signature and date are contemporary with the painting. This portrait has a long and distinguised critical history, having been admired by John Smith in 1836 and its attribution to Rembrandt confirmed by Michel, Bode, Hofstede de Groot, Bredius, Bauch and Horst Gerson. However, in the third volume of A Corpus of Rembrandt Paintings, which was published in 1989, the Rembrandt Research Project assigned the picture to the C category of Rejected Works and describe it as painted 'in Rembrandt's workshop by an otherwise unknown hand'. The arguments are entirely stylistic: 'the linear character of the execution and the use of colour argue against an attribution by him'. This view has been related by Professor Ernst van de Wetering and supported by Professor Christian Tumpel. Other scholars have defended the traditional attribution to Rembrandt, among them the present author and Professor Egbert Haverkamp Begemann of the Institute of Fine Arts in New York, who is a member of the Rembrandt Research Project's Advisory Board. The painting was recently taken to the Rijksmuseum and hung alongside the Portrait of a Young Lady, believed to be Maria Trip. Both Professor Van de Wetering and Professor Haverkamp Begemann were present. Both thought it unlikely that the paintings were pendants. Professor Haverkamp Begemann confirmed his view that the painting is an autograph work, consistent in style with other paintings of around 1641-2. He noted the close relationship of the paint technique to that of certain faces in The Nightwatch of 1642. Professor Van de Wetering, however, continues to believe that the painting is the work of an assistant in the artist's studio. Dr. Christopher Brown. Provenance: Jurriaans, Amsterdam; His sale, Amsterdam, Van der Schley..., 28 August 1817, lot 49 (as by Rembrandt), sold for 1995 florins to De Vries; Thomas Emmerson, London, by 1836; Alfred Morrison, Carlton House Terrace, London; Hugh Morrison, Fonthill; Thence by descent to Lord Margadale of Islay, T.D., Fonthill House, Tisbury, Wiltshire; His sale, London, Christie's, 25 June 1971, lot 13 (as by Rembrandt, signed and dated 1642), sold for £168000 ($403200); With Thos. Agnew & Sons, Ltd., London and E.V. Thaw, New York, by whom sold to Baron H. H. Thyssen-Bornemisza, Villa Favorita, Lugano, until 1983(?); Anonymous sale, New York, Sotheby's, 14 January 1988, lot 116, sold for $800000 to Agnew's; With Thos. Agnew & Sons Ltd., London, by whom sold to a private collector; Anonymous sale, New York, Sotheby's, 19 May 1994, lot 109, for $750000. Exhibited: London, Royal Academy, Old Masters, 1892, no. 129 (as by Rembrandt, wrongly described as on canvas); London, Royal Academy, Works by Rembrandt, 1899, no. 62 (as by Rembrandt, erroneously identified as depicting Dr. Bonus); London, Grosvenor Gallery, National Loan Exhibition, 1914, no. 6 (as by Rembrandt, signed and dated 1643); Edinburgh National Gallery, An Exhibition of Paintings by Rembrandt, 1950, no. 17 (as by Rembrandt erroneously said to depict Ephraim Bueno); Washington, D. C., National Gallery of Art; Detroit Institute of Art; Minneapolis Institute of Arts; Cleveland Museum of Art; Fort Worth, Kimbell Museumof Art; Los Angeles County Museum of Art; Kansas City, William Rockhill Nelson Gallery; New York, Metropolitan Museum of Art, Old Master Paintings from the Collection of Baron Thyssen-Bornemisza, 1979-1982, no. 42 (as by Rembrandt, not later than 1643, catalogue by Allen Rosenbaum; Oberlin, Ohio, Oberlin College Museum of Art, on loan December 1984 - October 1985 (as by Rembrandt); Yokohama, Sogo Museum of Art; Fukuoka, Art Museum, National Museum of Modern Art, Rembrandt and the Bible, October 31, 1986-March 22, 1987, p. 153, no. 5 (as by Rembrandt, signed and dated 1642, catalogue by E. Haverkamp-Begemann and Christopher Brown). Literature: J. Smith, A Catalogue Raisonne of the Works of the Most Eminient Dutch, Flemish and French Painters, vol. vii, London 1836, no. 339 (as by Rembrandt); E. Michel, Rembrandt, vol. ii, London 1894, p. 558, no. 433 (as by Rembrandt, signed and dated 164-, datable to about 1642); W. Bode and C. Hofstede de Groot, The Complete Works of Rembrandt, Paris 1897, no. 287 (as by Rembrandt, signed and dated 1643); W.R. Valentiner, Rembrandt; Des Meisters Gemalde, Stuttgart 1909, no. 267 (as by Rembrandt, dated 1643); B. Nicols, 'Two Exhibitions in Aid of National Funds', in The Burlington Magazine, January 1915, p. 163 (as by Rembrandt, as datable to 1643 and erroneously identified as depicting Ephraim Bonus); C. Hofstede de Groot, A Catalogue Raisonne..., vol. vi, London 1916, no. 747 (as by Rembrandt, incorrectly described as on canvas transferred from panel, signed and dated 1643); A. Bredius, The Paintings of Rembrandt, London 1937, no. 222 (as by Rembrandt, signed and dated 164-, but datable to about 1642); K. Bauch, Rembrandt Gemalde, Berlin 1966, no. 390 (as by Rembrandt, signed and dated 1643); H. Gerson, Rembrandt Paintings, Amsterdam 1968, p. 342, no. 246, p. 498, reproduced p. 342 (as by Rembrandt, signed and dated 164-, incorrectly described as on canvas); A. Bredius (revised by H. Gerson), Rembrandt. The Complete Edition of Paintings, London 1969, p. 180, no. 222, illus. (as by Rembrandt, signed and dated 164-); P. Lecaldano, The Complete Paintings of Rembrandt, Milan 1973, p. 111, no. 252 (as by Rembrandt); J. Bolten and H. Bolten-Rempt, The Hidden Rembrandt, Oxford 1978, p. 190, no. 317 (as by Rembrandt, dated 1643); C. Brown, Rembrandt; Every Painting, London 1980, vol. ii, p. 26, no. 234, illus. (as by Rembrandt, signed and dated; datable to circa 1644); G. Schwartz, Rembrandt; his life, his paintings, Maarssen 1985, p. 380 (as inaccessible, and therefore no comment); Dutch Heights, July 1988, p. 16 (where E. Van de Wetering defends the Rembrandt Research Project's conclusions about the painting); Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, III, 1635-1642, Dordrecht, Boston & London 1989, pp. 691-94, no. C110, reproduced p. 692 (as by an unknown hand in Rembrandt's workshop); W. Liedtke, 'Reconstructing Rembrandt', in Apollo, May 1989, p. 372, footnote 60 (where the attribution is not commented on but the author suggests that the 'B' category of the Rembrandt Corpus should be enlarged so that further debate could take place); C. Tumpel, Rembrandt; All Paintings in Colour, Amsterdam 1986, revised ed. 1993, p. 432, no. A91 (as by an unknown artist in the Rembrandt Circle and erroneously citing Gerson as having rejected the painting - see Gerson above).

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Cecily Brown , b. 1969 Untitled #24 oil on canvas

Lot 65: Cecily Brown , b. 1969 Untitled #24 oil on canvas

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Description: oil on canvas

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                                          Cecily Brown (b. 1969)

Lot 71: Cecily Brown (b. 1969)

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Description: Cecily Brown (b. 1969) Untitled (Yellow) signed and dated 'Cecily Brown 97' (on the overlap); signed and dated 'Cecily Brown 97' (on the reverse)oil on canvas 56 x 76in. (142.2 x 193cm.) Painted in 1997

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Cecily Brown (b. 1969)

Lot 72: Cecily Brown (b. 1969)

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Description: Helftsigned and dated 'Cecily Brown 2003' (on the reverse)oil on linen72 x 96in. (182.8 x 243.8cm.)Painted in 2003

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CECILY BROWN

Lot 73: CECILY BROWN

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Description: B. 1969CONFESSIONS OF A WINDOW CLEANER75 x 90 in. 190.5 x 228.6 cm.signed and dated 2000-2001 on the reverse; signed and dated on the stretcheroil on canvasPROVENANCEContemporary Fine Arts, BerlinAcquired by the present owner from the above in May 2001EXHIBITEDBerlin, Contemporary Fine Arts, Cecily Brown: Days of Heaven, March - May 2001, cat. no. 2, illustrated in color

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Tricky

Lot 112: Tricky

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Description: Cecily Brown (b. 1969) Tricky signed and dated 'Cecily Brown 01' (on the reverse); signed and dated 'Cecily Brown 01' (on the stretcher)oil on canvas 48 1/8 x 50 1/8in. (122 x 127.4cm.) Painted in 2001

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CECILY BROWN L.C.V., 2003

Lot 116: CECILY BROWN L.C.V., 2003

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Description: CECILY BROWN L.C.V., 2003

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No Image Available

Lot 122: Cecily Brown (b. 1969)

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Description: Spring Fever B signed, dated and titled 'Cecily Brown Spring Fever B 1999' (on the reverse of each) watercolor and gouache on paper each: 221/4 in. x 30 in. (56.4 x 76.2 cm.) Painted in 1999 PROVENANCE Gagosian Gallery, Los Angeles. SALESROOM NOTICE Withdrawn.

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CECILY BROWN Hard, Fast and Beautiful, 2000 Oil on

Lot 133: CECILY BROWN Hard, Fast and Beautiful, 2000 Oil on

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Description: CECILY BROWN Hard, Fast and Beautiful, 2000 Oil on canvas. 100 x 110 in. (254 x 279.4 cm).

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CECILY BROWN (B. 1969)

Lot 136: CECILY BROWN (B. 1969)

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Description: CECILY BROWN (B. 1969) [Untitled] lithograph in colors, 2004, on wove paper, signed and dated in pencil, numbered 72/120, published by Gemini G.E.L., Los Angeles, with their blindstamps and inkstamp on the reverse, the full sheet, in very good condition, framedS. 16¾ x 13½ in. (426 x 343 mm.)

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Cecily Brown , Untitled watercolor on paper

Lot 137: Cecily Brown , Untitled watercolor on paper

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Description: signed and dated 99 on the reverse watercolor on paper

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