NEW YORK, NY.- TEFAF New York has released a “first look” at the inaugural TEFAF New York Spring Fair that will take place at the historic Park Avenue Armory in New York City from May 4-8, 2017, with the Opening VIP Preview on May 3, 2017. The Fair will feature 92 of the world’s most illustrious dealers who specialize in Modern and Contemporary Art and Design. In addition, a small number of dealers will exhibit jewelry, African & Oceanic art, and antiquities. The inclusion of African & Oceanic works and classical antiquities will cement the coherent aesthetic that is popular among contemporary and modern collectors.
TEFAF New York Spring follows the successful first edition of TEFAF New York Fall, launched in October 2016 at the Park Avenue Armory, concentrating on fine and decorative art from antiquity to 1920. Both TEFAF New York Fairs are an important expansion of the TEFAF portfolio, providing an additional platform for today’s collectors and museums.
Among the world-class dealers exhibiting at TEFAF New York Spring are Acquavella Galleries, Applicat-Prazan, Di Donna, Richard Green, Hauser & Wirth, Paul Kasmin, Sean Kelly, Eykyn Maclean, Helly Nahmad, Lisson Gallery, Galerie Perrotin, Christophe van de Weghe, White Cube and David Zwirner.
A ‘FIRST LOOK’ AT TEFAF NEW YORK SPRING HIGHLIGHTS
Exhibitor: White Cube, London-Hong Kong, Stand 65
Campbell’s Elvis, Andy Warhol (1928-1987). Silkscreen ink and acrylic on canvas Provenance: Salvador Dalí, Cadaques; Galerie Folker Skulima, Berlin; Michael Kohn Gallery, Los Angeles; Steve Wynn, Las Vegas; Gagosian Gallery, New York; Robert Shapazian, Los Angeles; Sale; Christie’s, New York, 10 November 2010.
Andy Warhol (Pittsburgh 1928-1987 New York), Campbell's Elvis, 1962. Silkscreen ink and acrylic on canvas, 50.8 x 41.2 cm (20 x 16.25 in.). Signed and incorrectly dated on the reverse 'ANDY WARHOL 64'. Photo courtesy White Cube.
Provenance: Salvador Dalí, Cadaques; Galerie Folker Skulima, Berlin; Michael Kohn Gallery, Los Angeles; Steve Wynn, Las Vegas; Gagosian Gallery, New York; Robert Shapazian, Los Angeles; sale, Christie’s, New York, 10 November 2010, lot 13; private collection, London
Literature: R. Crone, Andy Warhol, New York 1970, ill. no. 132; R. Crone, Das Bildnerische Werk: Andy Warhols, Berlin 1976, ill. no. 142; Tilman Osterwold, exh. cat. Andy Warhol: Retrospective Paintings, Berlin 1993, ill. p. 35; L. Lumpkin, ed., The Bellagio Gallery of Fine Arts: Impressionist and Modern Masters, Las Vegas 1998, ill. p. 234; G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné of Paintings and Sculptures, 1961-1963, vol. 1, New York 2002, ill. pp. 255-56, no. 289
Exhibitor: Acquavella Galleries, New York, Stand 66
Lucian Freud (1922-2011), David, Pluto and Eli, 2001. Oil on canvas, 25.7 x 41.9 cm. Photo courtesy Acquavella Galleries.
Exhibitor: Hauser & Wirth, New York, Stand 6
Lygia Pape (1927- 2004), Tecelar, 1956. Woodcut print on Japanese paper, Unique variant of 2, Paper. Signed and dated lower right ‘Pape 56’. Photo: Andrew Smart, AC Cooper LTD. Courtesy Projeto Lygia Pape and Hauser & Wirth (C) Projeto Lygia Pape.
Exhibitor: Van de Weghe Fine Art, New York, Stand 8
Pablo Picasso (1881-1973), Tête d’Homme, 1965. Oil on canvas, 41.5 x 33 cm. Signed lower right ‘Picasso’ and dated on the reverse ‘2.4.65.IV’. Photo courtesy Van de Weghe Fine Art.
Exhibitor: David Zwirner, New York, Stand 67
Josef Albers (1888 - 1976), Homage to the Square, 1971, Oil on Masonite, 121.9 x 121.9 cm (48 x 48 in.), Framed 122.6 x 122.6 x 3.8 cm (48.25 x 48.25 x 1.5 in.) Initialed and dated lower right Connecticut, 1971. Photo courtesy David Zwirner.
Provenance. The Estate of Josef Albers; The Josef and Anni Albers Foundation
Exhibition: Valencia, IVAM Centre Julio González, Josef Albers: Vidrio, Color y Luz, November 3, 1994 - January 8, 1995; Bottrop, Josef Albers Museum Quadrat, Ad Reinhardt: Last Paintings, September 26, 2010 -January 9, 2011, exh. cat. p. 161; Madrid, Fundación Juan March, Josef Albers: Minimal Means, Maximum Effect, March 28 - July 6, 2014, exh. cat. by Nicholas Fox Weber and Jeannette Redensek, no. 105, p. 151, ill.and p. 367; London, David Zwirner, Josef Albers: Sunny Side Up, January 13-March 4, 2017; exh. cat. (titledMidnight and Noon, with an introduction by Nicholas Fox Weber and texts by Elaine de Kooning and Colm Tóibín), p. 113, ill.
Exhibitor: Di Donna Galleries, New York, Stand 1
L’Explication is an important example of Magritte’s theory of ‘elective affinities’ where he explored the conscious combination of two distinct objects and how they can create a harmonic dynamism as successfully as two completely unrelated objects. This work is part of Di Donna’s stand exhibition at TEFAF New York Spring, “A Surrealist Banquet” featuring Surrealist works of art on the theme of “Dining.”
René Magritte, (1898 – 1967), L'Explication, 1962, Gouache on paper, 35.6 x 27.3 cm. Signed lower left 'Magritte', signed 'Magritte', titled 'L'EXPLICATION' and dated on the verso '1962'. © 2017 C. Herscovici / Artists Rights Society (ARS), New York.
Literature: Letter from Magritte to Iolas, September 26, 1962; letter from Magritte to Bosmans, November 1, 1962; statement of account from Magritte to Iolas, January 1, 1963; Quadrum, Brussels, 1964, vol. XVI (ill. in an installation photograph p. 155);
J. Meuris, Magritte, New York 1988, p. 27, ill. 45, in black and white; D. Sylvester, ed., S. Whitfield and M. Raeburn, René Magritte, Gouaches, Temperas, Watercolours and Papiers Collés, 1918-1967, Antwerp 1994, p. 245, no. 1513, ill. in black and white.
Exhibition: Milan, Galleria Schwarz, Magritte, 1962; Rome, L'Attico, Magritte, 1963; Trieste, Museo del Castello di San Giusto, Arte Fantastica, 1964, no. 42; Turin, Gallerie Notizie, Magritte: opere scelte dal 1925 al 1962, 1965, ill. p. 12; Rome, Medusa, René Magritte: selezione di dipinti dal 1925 al 1962, 1965, no. 4, ill.; Paris, Galerie Isy Brachot, La Surréalisme en Belgique I, 1986, no. 20, ill.; New York, Arnold Herstand & Co., René Magritte: Paintings, 1986, pp. 38-39, ill. in color; Paris, Musée Maillot, Magritte tout en papier: collages, dessins, gouaches, 2006, pp. 64-65, ill. in color; Rotterdam, Museum Boijmans Van Beuningen, Voici Magritte, gouaches, collages, tekeningen, studies, schilderijen, 2006, pp. 64-65, ill. in color, (titled Der verklaring).
Exhibitor: Paul Kasmin Gallery, New York, Stand 5
Constantin Brancusi (1876-1957), Le Nouveau-Né, 1920. Polished bronze. Edition of 8 (#4/8), Edition cast by Susse Fondeur, Paris, in 2003. Photo courtesy Paul Kasmin Gallery
Exhibitor: Richard Green, London, Stand 25
Sean Scully RA (Dublin, 1945), Doric Light, 2011. Oil on linen, 71.1 x 81.3 cm (28 x 32 in.). Signed, dated and inscribed on the reverse ‘DORIC / LIGHT Sean / Scully /12 – 11’, SS1612. Photo courtesy Richard Green
Provenance: Timothy Taylor, London; Private Collection, Europe.
Literature: Oscar Humphries, Ben Luke, Kelly Grovier and Sean Scully, Sean Scully. Doric, London 2012, ill. in colour pl. 26; Jean Fremon and Kelly Grovier, Sean Scully. Doric, Paris 2014, ill. in colour, p. 103
Exhibition: Athens, Benaki Museum of Art, Sean Scully: Doric, 8th May – July 2012, no. 26, ill. in colour; this exhibition then travelled to Valencia, Spain, Institut Valencia d’Art Modern, 28th July – 28th October 2012
Jim Dine (Cincinnati, 1935), Red Lite Bulb, 1962;.Oil and light bulb on canvas, 91.4 x 61.6 x 12.77 cm. Photo courtesy Richard Green
"Dine’s objects function not as hidden narrative… but rather as metaphors for human thoughts, emotions and desires: 'When I use objects, I see them as a vocabulary of feelings.'1"2
1 Jim Dine, interviewed by John Gruen (1966), quoted in 'Jim Dine and the Life of Objects' in ArtNews 76 (September 1977), p. 38
2 Malcolm R. Daniel in Selections from the Ileana and Michael Sonnabend Collection, Princeton 1985, p. 45
Provenance: The artist, The Estate of Ileana Sonnabend (acquired directly from above); thence by descent; private collection, Chicago
Exhibition: New York, Dickinson Roundell, Inc., Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art, May 5 - June 20, 2003, pp. 42-43, no. 9 (ill. in color);
Ferrara, Galleria Civica d’Arte Moderna, Palazzo dei Diamanti, Jim Dine, October 31 1976 - January 3 1977, no. 13, ill.
Patrick Caulfield (Acton 1936-2005 London), Still Life: Mother's Day, 1975. Acrylic on canvas, 76.2 x 91.4 cm (30 x 36 in.). Signed and inscribed on the stretcher 'STILL LIFE: MOTHER'S DAY / PATRICK CAULFIELD'. Photo courtesy Richard Green
Provenance: Leslie Waddington, London, acquired directly from the artist
Literature: ‘Patrick Caulfield Paintings 1963-1992’, in Art and Design Profile, no. 27, Vol. 7, 5/6, London 1992, ill. p. 46; M. Livingstone, Patrick Caulfield: Paintings, Aldershot 2005, pp. 84, 86 and 106, ill. in colour p. 92; M. Bracewell, ‘Patrick Caulfield’, in Afterall, 2005, pp. 28-34, no. 12; C. Wallis, British Artists: Patrick Caulfield, London 2013, no. 22, ill. in colour p. 41
Exhibition: London, Arts Council of Great Britain, Hayward Gallery, Hayward Annual, 1977, no. 24; Liverpool, Walker Art Gallery, Patrick Caulfield: Paintings 1963-81, August – October 1981, no. 37, ill. p. 70; this exhibition then travelled to London, Tate Gallery, October 1981 – January 1982; Leeds, Leeds City Art Gallery, The Irresistible Object: Still Life 1600-1985, October – December 1985, no. 30, ill. in colour p. 27; London, Serpentine Gallery, Patrick Caulfield: Paintings 1963-1992, November 1992 - January 1993, not numbered, ill. in colour p. 46; London, British Council, Hayward Gallery, Patrick Caulfield, 4th February - 11th April 1999, no. 23, ill. in colour p. 74; this exhibition then travelled to Luxembourg, Museé National Histoire d’Art, April – June 1999; Lisbon, Centro de Arte Moderna Jose de Azeredo Perdigao, July – September 1999; and New Haven, Connecticut, Yale Center for British Art, October 1999 - January 2000; London, Tate Gallery, Patrick Caulfield – Gary Hume, June – September 2013, no. 22
Dame Barbara Hepworth (Wakefield 1903-1975 St. Ives), Three Forms (October 3rd), 21.6 x 31.8 x 15.2 cm (8 ½ x 12 ½ x 6 in.) (slate including base). On a slate base. Signed with the artist’s initials and dated on the base 'BH / 66'. Conceived and executed in 1966. Photo courtesy Richard Green
Provenance: Gimpel & Hanover Galerie, Zürich; Mrs M. G. Ballantyne, Montreal, and then by descent, acquired from the above
Literature: Alan Bowness, The Complete Sculpture of Barbara Hepworth 1960 – 69, London 1967, no. 432, pl. 155, ill.
Exhibition: Zurich, Gimpel & Hanover Galerie, Horizonte, 1967, no. 4
Exhibitor: Eykyn Maclean, New York-London, Stand 12
Henry Moore (1898-1986), Three Figures, 1942. Watercolour wash, wax crayon, charcoal (rubbed), pen and ink over pencil, 44.5 x 47.7 cm. Signed and dated lower right ‘Moore ‘42’. Signed, titled, dated and numbered on verso ‘5633’. Executed in 1942. Photo courtesy Eykyn Maclean
Provenance: Curt Valentin, New York; Herman Shulman, Stamford, Connecticut; Mrs. Norman Shulman, New York; Thomas Gibson Fine Art, London; Neville Conrad, London 1973; Waddington Galleries, London, 1997’; Private Collection, United Kingdom.