(b Rotterdam, The Netherlands, 1904; d East Hampton, New York, 1997) American Painter. As a young man, Willem De Kooning studied to be a commercial artist in Rotterdam, training in traditional draftsmanship conditioned by 17th century academic precepts. Following his relocation to New York in 1926, de Kooning became a forerunner of the Abstract Expressionism Movement, influenced in particular by his good friend and fellow painter Arshile Gorky.* In the 1950s, de Kooning focused on the human form. Between the years of 1953 and 1955, Willem created sixteen paintings of women and a larger number of drawings, dedicating himself to the female form. De Kooning employed his knowledge and skill as an instructor at Yale University from 1950 to 1960. Following his time as a professor, de Kooning’s Women series, of the early and mid 1960s, took on a new roundness of fluidity and femininity not found in the earlier depictions. After settling in East Hampton, New York in 1963, de Kooning began experimenting with the portrayal of natural landscapes as well as sculpture, while continuing his representation of the female form. In 1969, the Museum of Modern Art held a retrospective of de Kooning’s work. After a period of artistic inactivity, de Kooning resumed painting between 1975 and 1978. During the 1970s, the artist suffered bouts of severe alcoholism and ceased to create until the 1980s, during which he maintained a nominally abstract style, reverting back to figural compositions that first appeared decades previously.** De Kooning died in March of 1997 in East Hampton, NY following a long battle with Alzheimer’s disease. (Credit: *Christie's, New York, Post-War, 15 November 2000, Lot 9; **Christies, New York, Post-War and Contemporary, May 16, 2007, Lot 29)
Willem De Kooning (Dutch, 1904-1997) Attributed to, Untitled, Signed de Kooning in pencil lower right, Oil on Sheet Music, Sight-12" x 9 1/4", Framed-20 3/4" x 16 3/4"
Willem de Kooning (American/Dutch, 1904-1997) The Man and the Big Blonde, 1982 offset lithograph in colors unsigned and numbered CXXXVIII/CL as issued 21 1/8 x 26 7/8 in. Property of a Private Collector, sold to Benefit Charitable Organizations This lot is located in Chicago.
Willem de Kooning Dutch, (1904-1997) Valentine, 1970 lithograph Pencil signed and dated lower right, numbered 38/47. Catalogue raisonné: Graham 16. Biography from the Archives of askART: Willem de Kooning was born in Rotterdam, Holland on April 24, 1904. His father, Leenert, was a wine and beer distributor who won custody of young Willem when his parents separated about five years after his birth. His mother, Cornelia Nobel de Kooning, ran a tough seamen's bar, and snatched the boy back soon after. At the age of twelve, with elementary school behind him, de Kooning entered an informal apprenticeship with commercial artists and designers, Jan and Jaay Gidding, who also provided his art education. They enrolled him in night courses at the Rotterdam Akademie voor Beeldende Kunsten en Wettenschappen, where he studied academic art and crafts. His first jobs were in commercial art, including a year in Belgium during which he visited museums and studied. He came to the United States illegally in 1926 and settled in Hoboken, New Jersey, which had a large Dutch community, while he learned English. He began his career as a house painter. When he saw an ad in a New York newspaper for someone to do commercial artwork, he went to New York and for many years he did lettering, sign painting and carpentry. In 1935 he was employed doing murals for the Federal Arts project; the same year he did his first easel painting and his first independent commission was for part of a mural for the New York World's Fair of 1939 and 1940. A series of black and white abstractions in the late 1940s were the subject of his first one-man show. He chose black and white for the simple reason that the neutral paints were less expensive, but the works were considered his best by many experts. In 1943 he married Elaine Fried, who was one of his art students. In 1948 they visited East Hampton as weekend guests of Jackson Pollock and Lee Krasner. ` De Kooning's pride and joy was his studio, built between 1963 and 1969 to his specifications. He spent most of his day there. Besides hard work, his other pleasures were seeing movies and bicycle riding. He designed the huge studio with 30-foot ceilings, white walls and large expanses of glass, allowing all available light to pour in. Despite his quick American assimilation, de Kooning's ties to Holland surfaced on occasion. It is significant that though in 1964 de Kooning was awarded America's highest civilian award, the Medal of Freedom, he had remained a Dutch citizen for almost forty years after arriving here. The whole myth of American life, the vulgarity, the bigness, the overstatements, appealed to De Kooning. He could find inspiration in aspects of American culture that Americans tend to be repulsed by. He repeatedly told visitors that he had gotten the idea of mixing his colors from the ice-cream counter at Howard Johnson's, where twenty-eight variously colored flavors were shown off in buckets. Like many artists, De Kooning had frequent periods of self-doubt while painting. A doctor friend told him to take a brandy in the morning; as a result, he became a drunk. His alcoholism contributed to the disintegration of his marriage and they separated in 1955. They never divorced and she remained his close friend and colleague. After the separation, DeKooning, who was always attractive to women, moved in with Joan Ward, a commercial artist. When De Kooning was fifty-two, their daughter, Lisa, was born. Three years later deKooning moved to Rome with Ruth Kligman, an artist's model. But his alcoholic blackouts grew worse, interspersed with periods in drying-out wards, until 1978 when Elaine finally persuaded him to go to Alcoholics Anonymous. She secretly gave him a drug, Antabuse, that made him sick when he drank. By 1980 he was through the worst. The originator of a boisterous idea of painting-as-adventure, he had gotten lost in a haze of often violent alcoholism and was almost never able to paint. The period between 1978 and 1981 in a retrospective at the National Gallery of Art was represented by a single work. In the 1980s, however, a newly sober De Kooning suddenly became productive once again, although he also began to slide into what the doctors believe is Alzheimer's disease. De Kooning used a variety of tricks to pump up the sensuously inviting tactility of his surfaces, including his famous wet-on-wet technique of mixing salad oil in the pigment, in order to make it slithery, fluid and receptive to sustained periods of work. It didn't dry out fast. As he worked he would repeatedly scrape down the surface, leaving layered smears and traces of underpaint to show through, like insistent memories of past encounters piling up one on top of the other. His paintings can look slatternly, as if they've been around. He rarely painted either males or reclining figures. De Kooning's circle of friends consisted either of old acquaintances of many years' duration or people introduced to him by a trusted group of advisors who shielded him from exploitation. In this second category is former Beatle, Paul McCartney, whose wife, Linda Eastman, was the daughter of De Kooning's lawyer, Lee Eastman. The McCartneys always came to visit when they were in East Hampton. Great artists have collided with mortality throughout history, but none has done it in quite the way that De Kooning has. His last paintings were those made between 1981 and 1990; then he laid down his brushes for good and became an invalid tended around the clock. He died on Wednesday, March 19, 1997. Sources: The Later Years by Christopher Knight, LA Times, October 9, 1995 New World Ardor by Christopher Knight, LA Times, May 29, 1994 Myrna Oliver , Obituary in the LA Times, March 20, 1997 ARTnews, February 1982 Dutch Master by Patrick Pacheco in Art & Antiques, September 1994 . Article in ARTnews,Summer 1989 by Andrew Decker Painted Women by Linda Nochlin in Art in America, November 1998 Written and compiled by Jean Ershler Schatz, artist and researcher of Laguna Woods, California.
Frank O'Hara (American, 1926-1966) / Willem de Kooning (Dutch, 1904-1997) Limited Editions Club LEC book Limited Editions Club publication of Poems by Frank O'Hara with lithographs by Willem de Kooning, released in 1988. The edition was limited to 550 copies. Biography from the Archives of askART: Willem de Kooning was born in Rotterdam, Holland on April 24, 1904. His father, Leenert, was a wine and beer distributor who won custody of young Willem when his parents separated about five years after his birth. His mother, Cornelia Nobel de Kooning, ran a tough seamen's bar, and snatched the boy back soon after. At the age of twelve, with elementary school behind him, de Kooning entered an informal apprenticeship with commercial artists and designers, Jan and Jaay Gidding, who also provided his art education. They enrolled him in night courses at the Rotterdam Akademie voor Beeldende Kunsten en Wettenschappen, where he studied academic art and crafts. His first jobs were in commercial art, including a year in Belgium during which he visited museums and studied. He came to the United States illegally in 1926 and settled in Hoboken, New Jersey, which had a large Dutch community, while he learned English. He began his career as a house painter. When he saw an ad in a New York newspaper for someone to do commercial artwork, he went to New York and for many years he did lettering, sign painting and carpentry. In 1935 he was employed doing murals for the Federal Arts project; the same year he did his first easel painting and his first independent commission was for part of a mural for the New York World's Fair of 1939 and 1940. A series of black and white abstractions in the late 1940s were the subject of his first one-man show. He chose black and white for the simple reason that the neutral paints were less expensive, but the works were considered his best by many experts. In 1943 he married Elaine Fried, who was one of his art students. In 1948 they visited East Hampton as weekend guests of Jackson Pollock and Lee Krasner. ` De Kooning's pride and joy was his studio, built between 1963 and 1969 to his specifications. He spent most of his day there. Besides hard work, his other pleasures were seeing movies and bicycle riding. He designed the huge studio with 30-foot ceilings, white walls and large expanses of glass, allowing all available light to pour in. Despite his quick American assimilation, de Kooning's ties to Holland surfaced on occasion. It is significant that though in 1964 de Kooning was awarded America's highest civilian award, the Medal of Freedom, he had remained a Dutch citizen for almost forty years after arriving here. The whole myth of American life, the vulgarity, the bigness, the overstatements, appealed to De Kooning. He could find inspiration in aspects of American culture that Americans tend to be repulsed by. He repeatedly told visitors that he had gotten the idea of mixing his colors from the ice-cream counter at Howard Johnson's, where twenty-eight variously colored flavors were shown off in buckets. Like many artists, De Kooning had frequent periods of self-doubt while painting. A doctor friend told him to take a brandy in the morning; as a result, he became a drunk. His alcoholism contributed to the disintegration of his marriage and they separated in 1955. They never divorced and she remained his close friend and colleague. After the separation, DeKooning, who was always attractive to women, moved in with Joan Ward, a commercial artist. When De Kooning was fifty-two, their daughter, Lisa, was born. Three years later deKooning moved to Rome with Ruth Kligman, an artist's model. But his alcoholic blackouts grew worse, interspersed with periods in drying-out wards, until 1978 when Elaine finally persuaded him to go to Alcoholics Anonymous. She secretly gave him a drug, Antabuse, that made him sick when he drank. By 1980 he was through the worst. The originator of a boisterous idea of painting-as-adventure, he had gotten lost in a haze of often violent alcoholism and was almost never able to paint. The period between 1978 and 1981 in a retrospective at the National Gallery of Art was represented by a single work. In the 1980s, however, a newly sober De Kooning suddenly became productive once again, although he also began to slide into what the doctors believe is Alzheimer's disease. De Kooning used a variety of tricks to pump up the sensuously inviting tactility of his surfaces, including his famous wet-on-wet technique of mixing salad oil in the pigment, in order to make it slithery, fluid and receptive to sustained periods of work. It didn't dry out fast. As he worked he would repeatedly scrape down the surface, leaving layered smears and traces of underpaint to show through, like insistent memories of past encounters piling up one on top of the other. His paintings can look slatternly, as if they've been around. He rarely painted either males or reclining figures. De Kooning's circle of friends consisted either of old acquaintances of many years' duration or people introduced to him by a trusted group of advisors who shielded him from exploitation. In this second category is former Beatle, Paul McCartney, whose wife, Linda Eastman, was the daughter of De Kooning's lawyer, Lee Eastman. The McCartneys always came to visit when they were in East Hampton. Great artists have collided with mortality throughout history, but none has done it in quite the way that De Kooning has. His last paintings were those made between 1981 and 1990; then he laid down his brushes for good and became an invalid tended around the clock. He died on Wednesday, March 19, 1997. Sources: The Later Years by Christopher Knight, LA Times, October 9, 1995 New World Ardor by Christopher Knight, LA Times, May 29, 1994 Myrna Oliver , Obituary in the LA Times, March 20, 1997 ARTnews, February 1982 Dutch Master by Patrick Pacheco in Art & Antiques, September 1994 . Article in ARTnews,Summer 1989 by Andrew Decker Painted Women by Linda Nochlin in Art in America, November 1998 Written and compiled by Jean Ershler Schatz, artist and researcher of Laguna Woods, California.
Willem de Kooning Dutch, (1904-1997) Two Figures, 1973 lithographic print on Arches ink signed lower right, artist proof (aside from an edition of 100). Blind stamp lower right. Printed by Ives-Silliman, New Haven, with their blindstamp lower right; published by Abrams Original Editions, New York Biography from the Archives of askART: Willem de Kooning was born in Rotterdam, Holland on April 24, 1904. His father, Leenert, was a wine and beer distributor who won custody of young Willem when his parents separated about five years after his birth. His mother, Cornelia Nobel de Kooning, ran a tough seamen's bar, and snatched the boy back soon after. At the age of twelve, with elementary school behind him, de Kooning entered an informal apprenticeship with commercial artists and designers, Jan and Jaay Gidding, who also provided his art education. They enrolled him in night courses at the Rotterdam Akademie voor Beeldende Kunsten en Wettenschappen, where he studied academic art and crafts. His first jobs were in commercial art, including a year in Belgium during which he visited museums and studied. He came to the United States illegally in 1926 and settled in Hoboken, New Jersey, which had a large Dutch community, while he learned English. He began his career as a house painter. When he saw an ad in a New York newspaper for someone to do commercial artwork, he went to New York and for many years he did lettering, sign painting and carpentry. In 1935 he was employed doing murals for the Federal Arts project; the same year he did his first easel painting and his first independent commission was for part of a mural for the New York World's Fair of 1939 and 1940. A series of black and white abstractions in the late 1940s were the subject of his first one-man show. He chose black and white for the simple reason that the neutral paints were less expensive, but the works were considered his best by many experts. In 1943 he married Elaine Fried, who was one of his art students. In 1948 they visited East Hampton as weekend guests of Jackson Pollock and Lee Krasner. ` De Kooning's pride and joy was his studio, built between 1963 and 1969 to his specifications. He spent most of his day there. Besides hard work, his other pleasures were seeing movies and bicycle riding. He designed the huge studio with 30-foot ceilings, white walls and large expanses of glass, allowing all available light to pour in. Despite his quick American assimilation, de Kooning's ties to Holland surfaced on occasion. It is significant that though in 1964 de Kooning was awarded America's highest civilian award, the Medal of Freedom, he had remained a Dutch citizen for almost forty years after arriving here. The whole myth of American life, the vulgarity, the bigness, the overstatements, appealed to De Kooning. He could find inspiration in aspects of American culture that Americans tend to be repulsed by. He repeatedly told visitors that he had gotten the idea of mixing his colors from the ice-cream counter at Howard Johnson's, where twenty-eight variously colored flavors were shown off in buckets. Like many artists, De Kooning had frequent periods of self-doubt while painting. A doctor friend told him to take a brandy in the morning; as a result, he became a drunk. His alcoholism contributed to the disintegration of his marriage and they separated in 1955. They never divorced and she remained his close friend and colleague. After the separation, DeKooning, who was always attractive to women, moved in with Joan Ward, a commercial artist. When De Kooning was fifty-two, their daughter, Lisa, was born. Three years later deKooning moved to Rome with Ruth Kligman, an artist's model. But his alcoholic blackouts grew worse, interspersed with periods in drying-out wards, until 1978 when Elaine finally persuaded him to go to Alcoholics Anonymous. She secretly gave him a drug, Antabuse, that made him sick when he drank. By 1980 he was through the worst. The originator of a boisterous idea of painting-as-adventure, he had gotten lost in a haze of often violent alcoholism and was almost never able to paint. The period between 1978 and 1981 in a retrospective at the National Gallery of Art was represented by a single work. In the 1980s, however, a newly sober De Kooning suddenly became productive once again, although he also began to slide into what the doctors believe is Alzheimer's disease. De Kooning used a variety of tricks to pump up the sensuously inviting tactility of his surfaces, including his famous wet-on-wet technique of mixing salad oil in the pigment, in order to make it slithery, fluid and receptive to sustained periods of work. It didn't dry out fast. As he worked he would repeatedly scrape down the surface, leaving layered smears and traces of underpaint to show through, like insistent memories of past encounters piling up one on top of the other. His paintings can look slatternly, as if they've been around. He rarely painted either males or reclining figures. De Kooning's circle of friends consisted either of old acquaintances of many years' duration or people introduced to him by a trusted group of advisors who shielded him from exploitation. In this second category is former Beatle, Paul McCartney, whose wife, Linda Eastman, was the daughter of De Kooning's lawyer, Lee Eastman. The McCartneys always came to visit when they were in East Hampton. Great artists have collided with mortality throughout history, but none has done it in quite the way that De Kooning has. His last paintings were those made between 1981 and 1990; then he laid down his brushes for good and became an invalid tended around the clock. He died on Wednesday, March 19, 1997. Sources: The Later Years by Christopher Knight, LA Times, October 9, 1995 New World Ardor by Christopher Knight, LA Times, May 29, 1994 Myrna Oliver , Obituary in the LA Times, March 20, 1997 ARTnews, February 1982 Dutch Master by Patrick Pacheco in Art & Antiques, September 1994 . Article in ARTnews,Summer 1989 by Andrew Decker Painted Women by Linda Nochlin in Art in America, November 1998 Written and compiled by Jean Ershler Schatz, artist and researcher of Laguna Woods, California.
Willem de Kooning Untitled (from the Self-Portrait in a Convex Mirror portfolio) 1984 lithograph 17.75 dia in (45 cm) Signed and numbered to lower edge '126/175 de Kooning'. This work is number 126 from the edition of 175 printed by Hampton Editions Limited, Sag Harbor, NY and published by Arion Press, San Francisco. This work will ship from Lambertville, New Jersey.
Agudelo (XX), Abstract Composition, Mixed Media Assemblage with Oil on Board, 1967, strings mounted to left side and Willem de Kooning (Dutch/American, 1904-1997) print mounted to lower half of board, signed and dated lower right, wood frame. Image: 48" H x 38" W; frame: 48.75" H x 38.5" W x 1.5" D. Provenance: From a Scarsdale, New York Estate. Keywords: Paintings, Found Object Art, Oil on Panel, Abstraction, Totem, Black and white, Red, Graphic, 20th Century Art, Post-War and Contemporary Art
Willem de Kooning (1904-1997) Untitled, from Quatre Lithographies, 1986 Lithograph in colors on Arches paper, signed in pencil, dated and numbered XX/L (there was also an edition of 100 in Arabic numerals), published/printed by Editions de la Différence/Art Estampe, Paris, the full sheet, colors lightly attenuated, framed. sheet 28 1/4 x 24 3/4in (71.8 x 62.9cm)
Willem de Kooning Untitled c. 1968 charcoal on paper 23.625 h x 18 w in (60 x 46 cm) Provenance: Sotheby's, New York, Contemporary Art, 26 February 2007, Lot 83 | Private Collection This work will ship from Lambertville, New Jersey.
Title: “two Figures In A Landscape”. Framed In The Style Of William De Kooning. Frame Has A Small Chip. The Frame Measures Approximately 24in X 28.5in; Image Measures Approximately 9.25in X 13.25in. Nr12590 Eds
Willem De Kooning 1904 Rotterdam - 1997 Long Island, New York From Seventeen Lithographs for Frank O'Hara Lithograph on paper, 1988; H 360 mm, W 285 mm; print-signed, lower right ''de Kooning''; numbered lower left ''PP II/IV''
Willem De Kooning 1904 Rotterdam - 1997 Long Island, New York From Seventeen Lithographs for Frank O'Hara Lithograph on paper, 1988; H 365 mm, W 286 mm; print- signed lower right ''de Kooning''; numbered lower left ''PP II/IV''
The complete book of 17 lithographic reproductions, on Magnani paper, with text by Frank O'Hara, bound (as issued), contained in the original black fabric-covered portfolio. Limited edition of 550 copies with authorized Willem De Kooning facsimile signature. Published by the Limited Editions Club, 1988. Overall: 23 ⅜ by 18 ¾ in Provenance: Limited Editions Club, New York, New York; Property from the Collection of Marianne Endicott, Grosse Pointe Shores, MI Dimensions: H 21.75" W 17.4"
DE KOONING , WILLEM 1904 Rotterdam–1997 Long Island Title: Untitled. Date: Ca. 1972. Technique: Pencil on vellum. Mounting: Laid down on underlay paper. Measurement: 20.5 x 25 cm. Notation: Signed lower right: de Kooning. Provenance: - Private collection Horst Hoetzer, New York (ca. 1972 directly from the artist) - Ketterer Kunst, Munich, 443th auction, 10.6.2016, lot 544 - Private collection North Rhine-Westphalia (acquired from the previous owner) Estimated shipping costs for this lot: Inland: 36.97 Euro plus 7.02 Euro VAT EU: 58.82 Euro plus 11.18 Euro VAT Third country: 100.84 Euro plus 19.16 Euro VAT additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Willem de Kooning #Abstract Expressionism #USA #Post-War Art #Works on paper #Pencil #1970s #Post War. In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
DE KOONING , WILLEM 1904 Rotterdam–1997 Long Island Title: Untitled. From: Quattre Lithographies. Date: 1986. Technique: Colour lithograph on Arches FRANCE (watermark). Depiction Size: 72 x 63 cm. Notation: Signed, dated and numbered. Publisher: Éditions de la Différence, Paris (publisher). Number: 31/100. Frame: Craftsman's frame. Provenance: - Galerie Osper, Cologne (label) - Private collection North Rhine-Westphalia Estimated shipping costs for this lot: Inland: 77.31 Euro plus 14.69 Euro VAT EU: 100.84 Euro plus 19.16 Euro VAT Third country: 159.66 Euro plus 30.34 Euro VAT additional shipping insurance Shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. #Willem de Kooning #Abstract Expressionism #USA #Post-War Art #Print #Shapes #Colour lithograph #1980s #Prints. This lot will be sold under standard taxation (Condition of Sale §V5.1) In accordance with §26 UrhG (German Copyright Act), VAN HAM is obliged to pay a statutory resale royalty on the sale proceeds of all original works of fine art and photography whose authors have not been deceased for 70 years prior to the end of the calendar year of the sale. The buyer shall contribute 1.5% of the hammer price to this fee.
Attributed to Willem De Kooning Dutch, 1904-1997 Abstract Figural Drawing Pencil Appears to be unsigned. Provenance: Property from a Private New York and German Collector
Willem de Kooning and Franz Kline (1904-1997 & 1910-1962) 18 reference books and catalogues on the artists, all bound as issued, with title page, text, and illustrations (18) To include: Willem de Kooning - Paintings Marla Prather/National Gallery of Art, Washington/Yale University1994 de Kooning - a Retrospective John Elderfield/The Museum of Modern Art, New York 2011 Willem de Kooning Retrospective Whitney Museum of American Art, New York/Prestel 1984 Willem de Kooning Harry F. Gaugh/Abbeville Press, New York 1983 de Kooning - Drawings Walker and Company, New York 1967 Willem de Kooning - Ten Works 1936-1974 Paul Thiebaud Gallery 2005 Willem de Kooning Thomas B. Hess/George Braziller, New York 1959 de Kooning - An American Master Mark Stevens & Annalyn Swan/Alfred A. Knopf, New York 2004 Willem de Kooning Harriet Janis & Rudi Blesh/Evergreen Gallery 1960 Franz Kline - Art and the Structure of Identity Whitechapel Art Gallery/Electa 1994 Franz Kline 1910-1962 John Gordon/Whitney Museum of Art, New York 1968 New Paintings by Franz Kline Sidney Janis Gallery, New York 1960 Recent Paintings and Drawings by Franz Kline New Arts Gallery, Atlanta 1961 Franz Kline Memorial Exhibition Washington Gallery of Modern Art 1962 Franz Kline Stedelijk Museum Amsterdam 1963 Kline Memorial Exhibition Sidney Janis Gallery, New York 1963 Franz Kline Museum des 20. Jahrhunderts, Vienna 1964 Franz Kline - a retrospective exhibition Whitechapel Art Gallery, London 1964 Franz Kline Marlborough-Gerson, New York 1967
Willem de Kooning (1904-1997) Untitled from Seventeen Lithographs for Frank O'Hara. Lithograph on hand made Japanese Yame appliqué on Twinrocker paper, 1988. With de Kooning's authorized facsimile signature and numbered 5/60 in pencil, lower margin. Published by The Limited Editions Club, New York. From the same-titled portfolio.
Willem de Kooning (1904-1997) Untitled from Seventeen Lithographs for Frank O'Hara. Lithograph on hand made Japanese Yame appliqué on Twinrocker paper, 1988. With de Kooning's authorized facsimile signature and numbered 5/60 in pencil, lower margin. Published by The Limited Editions Club, New York. From the same-titled portfolio.
Willem de Kooning The Man and the Big Blonde 1982 offset lithograph in colors image: 21.125 h x 26.875 w in (54 x 68 cm) sheet: 26.5 h x 36 w in (67 x 91 cm) Numbered to lower left 'XXXI/CL'. This work is number 31 from the facsimile signed edition of 150 published by Rainbow Art Foundation, New York. This work will ship from Lambertville, New Jersey.
WILLEM DE KOONING (1904-1997) Untitled (De Kooning Drawings) signed 'de Kooning' (lower right) pen and ink on book cover 10 1/4 x 8 1/4 in Executed in 1967
WILLEM DE KOONING (Rotterdam, Netherlands, 1904 - Long Island, USA, 1997). "Valentine," 1971. Lithograph on Japan paper. Copy 40/47. Certificate of authenticity attached. Justified and dated in pencil. Measurements: 93,5 x 71,5 cm; 102 x 80 cm (frame). Lithograph in which you can appreciate the characteristic style of the author, influenced by the gestures and expression linked to an active exercise by the painter. Which in a certain way implies an active and truthful exploration regarding the exercise of painting, resulting in this aesthetic where chance seems to influence in a certain way. Valentine is a series in which de Kooning was working since 1947, an example of this is the work that the MoMA has. Willem de Kooning is one of the main representatives of American abstract expressionism, specifically of gestural painting or "action painting". He began his training at the Academy of Fine Arts in Rotterdam, where he remained for eight years, and in 1920 he began working with the artistic director of a department store. In 1926 he emigrated to the United States clandestinely, settling in New Jersey as a house painter. Only a year later he moved to Manhattan and took up painting again, at this first moment within a figurative language that reflected the influence of the Parisian school and Mexican muralism. At the beginning of the following decade he began to experiment with abstraction, using organic forms and simple geometric compositions, an opposition of disparate formal elements that would be a constant in his work from then on. From the forties onwards, de Kooning became increasingly identified with abstract expressionism, and by the mid-fifties he was already recognized as one of its most important representatives. His work will be oriented towards complex and agitated abstractions, which reintroduce the color of his figurative stage and manage to solve the problems of composition by free association with which he had struggled for years. Now fully established, from the 1950s onwards he would combine his artistic practice with teaching, teaching summer courses at Black Mountain College in North Carolina with John Cage, Buckminster Fuller and Josef Albers, and also at the Yale University School of Art. Although de Kooning had painted women regularly in the early 1940s, and again between 1947 and 1949, it was not until 1950 that he began to explore the subject of women exclusively, at the height of his artistic creativity. In the summer of that year he began his most famous series, which began with "Woman I" (MOMA, New York) and focused on the figure of women. Later he returned to a certain lyricism with works such as "Whose name was writ in water", and from 1970 he began to create large sculptures induced by Henry Moore. During his last years he became more and more inclined to create large clay sculptures. In 1960 he was made a member of the National Institute of Arts and Letters in Washington, in 1964 he was awarded the Presidential Medal of Freedom and in 1968 he was awarded the Congressional Medal of Arts. Outside the United States he was recognized with the Max Beckmann Prize in Frankfurt am Main (1984). De Kooning is represented in the world's leading modern art museums, including MOMA and the Guggenheim in New York, the Guggenheim in Bilbao, the Smithsonian in Washington, the Thyssen-Bornemisza and the Tate Gallery in London, among many others. Certificate of authenticity attached.
WILLEM DE KOONING (Rotterdam, Netherlands, 1904 - Long Island, USA, 1997). Untitled, 1965. Oil, acrylic and wax on paper. Signed and dedicated ("to de Gerb, Good Luck, de Kooning") in the lower right corner. Provenance: gift from the artist to the first owner, who in turn put it up for auction at Christie's in 2003. According to purchase dated 12/20/2004. Exhibitions: Galerie Rive Gauche de Paris (Gallery labels on the back of the painting). Measurements: 50 x 65 cm. This is an important work by Willem de Kooning, made in 1965, which is located within a particularly rich and transitional stage in his career. Despite its modest size, it displays on the surface an intense gestural energy and chromatic vibrancy that are hallmarks of de Kooning's visual language in the 1960s. By the mid-1960s, Willem de Kooning was already an established figure in Abstract Expressionism, having achieved international fame in the previous decades with his iconic series of women ("Woman" series). However, at this time his production began to undergo a significant transformation. He had left behind the urban frenzy of New York to move to East Hampton, Long Island, in search of a more serene environment. This new geography influences his painting: his forms become more open, the colors brighter and the gestures less anguished. Although he maintains the expressive gestures that characterize him, his work begins to suggest more clearly the luminosity of the landscape, the sea and the atmosphere of the natural environment. In this work, the white background functions as a sort of negative space that enhances the energy of the brushstrokes applied with controlled violence. The forms do not refer directly to recognizable objects, but there is an evocation of natural elements (earthy colors, greens, solar yellows) that could abstractly allude to the landscape or the body, recurring themes in his career. The materials used (oil, acrylic and wax) allow for a rich superimposition of textures. There are areas where the paint is applied thickly, almost in impasto, reminiscent of European informalism, and other more diluted or transparent areas that evoke an almost watery lightness. The grayish line in the form of a framework suggests an internal structure that orders the visual chaos, a kind of compositional skeleton that recalls the biomorphic compositions of the fifties but with greater spontaneity. This work well embodies the spirit of de Kooning's painting in the mid-1960s, when he begins to work in more atmospheric and open registers, anticipating his later work of the 1970s, in which forms will float in almost liquid and translucent spaces. Willem de Kooning is one of the main representatives of American abstract expressionism, specifically of gestural painting or "action painting". He began his training at the Academy of Fine Arts in Rotterdam, where he remained for eight years, and in 1920 he began working with the artistic director of a department store. In 1926 he emigrated to the United States clandestinely, settling in New Jersey as a house painter. Only a year later he moved to Manhattan and took up painting again, at this first moment within a figurative language that reflected the influence of the Parisian school and Mexican muralism. At the beginning of the following decade he began to experiment with abstraction, using organic forms and simple geometric compositions, an opposition of disparate formal elements that would be a constant in his work from then on. From the forties onwards, de Kooning became increasingly identified with abstract expressionism, and by the mid-fifties he was already recognized as one of its most important representatives. His work will be oriented towards complex and agitated abstractions, which reintroduce the color of his figurative stage and manage to solve the problems of composition by free association with which he had struggled for years. Now fully established, from the 1950s onwards he would combine his artistic practice with teaching, teaching summer courses at Black Mountain College in North Carolina with John Cage, Buckminster Fuller and Josef Albers, and also at the Yale University School of Art. Although de Kooning had painted women regularly in the early 1940s, and again between 1947 and 1949, it was not until 1950 that he began to explore the subject of women exclusively, at the height of his artistic creativity. In the summer of that year he began his most famous series, which began with "Woman I" (MOMA, New York) and focused on the figure of women. Later he returned to a certain lyricism with works such as "Whose name was writ in water", and from 1970 he began to make large sculptures induced by Henry Moore. During his last years he became more and more inclined to create large clay sculptures. In 1960 he was made a member of the National Institute of Arts and Letters in Washington, in 1964 he was awarded the Presidential Medal of Freedom and in 1968 he was awarded the Congressional Medal of Arts. Outside the United States he was recognized with the Max Beckmann Prize in Frankfurt am Main (1984). De Kooning is represented in the world's leading modern art museums, including MOMA and the Guggenheim in New York, the Guggenheim in Bilbao, the Smithsonian in Washington, the Thyssen-Bornemisza and the Tate Gallery in London, among many others.
Signed lower right, the full sheet. Matted and framed under glass. Provenance: Irv Fischer Gallery, Birmingham, Michigan; Purchased from above by Prominent Art Collectors, Waterford, Michigan Dimensions: H 24" W 19" Frame Size: H 31" W 29.25" Depth 1"
De Kooning, Willem (1904-1997), illustrator. -- O'Hara, Frank (1926-1966). Poems. New York: The Limited Editions Club, 1988. Large folio. 17 lithographs by Willem de Kooning. Original black morocco gilt; publisher's folding case. LIMITED EDITION, number 203 of 550 copies with de Kooning's authorized facsimile signature. Frank O'Hara was a writer, critic, and museum curator whose poetry was described by critic Mark Doty as being "urbane, ironic...often wildly funny." The first posthumous collection of his poetry, The Collected Poems of Frank O'Hara, shared the 1972 National Book Award for Poetry. Original newsletter laid-in. This lot is located in Chicago.
Property from the Collection of Annabelle and Bernard Fishman Willem de Kooning 1904 - 1997 Women in Water signed (upper right) oil on paper laid down on canvas 41 ¼ by 29 ½ in. 104.8 by 74.9 cm. Executed in 1971.
Willem de Kooning 1904 - 1997 Woman signed (lower right); dated ‘68 (on the reverse) oil on newsprint laid down on board 29 ¼ by 22 ¼ in. 74.3 by 56.5 cm. Executed in 1968.
Property from an Important Private Collection, Chicago Willem de Kooning 1904 - 1997 Untitled signed (lower left) oil on newsprint mounted on canvas 29 by 22 ½ in. 73.7 by 57.2 cm. Executed circa 1972.
Robert Mnuchin: Collector at Heart Willem de Kooning 1904 - 1997 Five Women signed (lower right) graphite on paper 17 ½ by 28 ½ in. 44.5 by 72.4 cm. Executed in 1952.
Robert Mnuchin: Collector at Heart Willem de Kooning 1904 - 1997 Untitled #4 signed (upper right) pastel and charcoal on paper mounted on paper 23 ¼ by 21 ½ in. 59 by 54.6 cm. Executed in 1956-58.
Property from an Important Private Collection Willem de Kooning (1904 - 1997) Untitled III oil on canvas 87 ¾ by 76 ½ in. 222.9 by 194.3 cm. Executed in 1975.
Robert Mnuchin: Collector at Heart Willem de Kooning (1904 - 1997) Two Women signed (lower left) oil on paper mounted on canvas 60 ½ by 37 in. 153.7 by 94 cm. Executed in 1964.
Robert Mnuchin: Collector at Heart Willem de Kooning (1904 - 1997) Untitled XLII oil on canvas 80 by 70 in. 203.2 by 177.8 cm. Executed in 1983. 羅伯特・姆努欽珍藏 威廉・德庫寧 1904 - 1997年 《無題 XLII》 油畫畫布 80 x 70 英寸 203.2 x 177.8 公分 1983年作
![WILLEM DE KOONING (1904-1997). Untitled; Untitled [Two Works].](https://image.invaluable.com/housePhotos/christies/06/815606/H0027-L441420176.jpg)
![WILLEM DE KOONING (1904-1997). Untitled [Four Works].](https://image.invaluable.com/housePhotos/christies/06/815606/H0027-L441420164.jpg)
