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Lot 123
Haim Steinbach (b. 1944)
supremely black
Closed28 September 2016
Estimate
USD 60,000–80,000
More Information
Haim Steinbach (b. 1944)
supremely black
signed and dated 'Haim Steinbach '85' (on the reverse of the shelf)
plastic laminated wood shelf, two ceramic pitchers and three cardboard detergent boxes
29 x 66 x 13 in. (73.6 x 167.6 x 33 cm.)
Executed in 1985. This work is number two from an edition of four.
supremely black
signed and dated 'Haim Steinbach '85' (on the reverse of the shelf)
plastic laminated wood shelf, two ceramic pitchers and three cardboard detergent boxes
29 x 66 x 13 in. (73.6 x 167.6 x 33 cm.)
Executed in 1985. This work is number two from an edition of four.
Haim Steinbach (b. 1944)
supremely black
signed and dated 'Haim Steinbach '85' (on the reverse of the shelf)
plastic laminated wood shelf, two ceramic pitchers and three cardboard detergent boxes
29 x 66 x 13 in. (73.6 x 167.6 x 33 cm.)
Executed in 1985. This work is number two from an edition of four.
supremely black
signed and dated 'Haim Steinbach '85' (on the reverse of the shelf)
plastic laminated wood shelf, two ceramic pitchers and three cardboard detergent boxes
29 x 66 x 13 in. (73.6 x 167.6 x 33 cm.)
Executed in 1985. This work is number two from an edition of four.
Jay Gorney Modern Art, New York
Acquired from the above by the present owner, 1985
Acquired from the above by the present owner, 1985
H. Cotter, “Haim Steinbach: Shelf Life,” Art in America, May 1986, p. 158 (another example from the edition illustrated).
B. Paul, “Postmodern Pop,” Esquire Magazine, September 1986, p. 252 (another example from the edition illustrated).
The 20th Century Art Book, London, 1999, p. 441 (another example from the edition illustrated).
D. Campbell and M. Durden, Variable Capital, Liverpool, 2007, p. 29 (another example from the edition illustrated).
D. Laurer and S. Pentak, Design Basics, New York, 2011, p. 96 (another example from the edition illustrated).
J. Marter, ed., "Haim Steinbach," The Grove Encyclopedia of American Art, Oxford, 2011, p. 549 (another example from the edition illustrated).
P. Aspden, “You can’t be serious,” Financial Times, 2 September 2011, p. 8 (another example from the edition illustrated).
D. Fortenberry and G. A. Bailey, Art in Time: A World History of Styles and Movements, London, 2014, p. 27 (another example from the edition illustrated).
B. Paul, “Postmodern Pop,” Esquire Magazine, September 1986, p. 252 (another example from the edition illustrated).
The 20th Century Art Book, London, 1999, p. 441 (another example from the edition illustrated).
D. Campbell and M. Durden, Variable Capital, Liverpool, 2007, p. 29 (another example from the edition illustrated).
D. Laurer and S. Pentak, Design Basics, New York, 2011, p. 96 (another example from the edition illustrated).
J. Marter, ed., "Haim Steinbach," The Grove Encyclopedia of American Art, Oxford, 2011, p. 549 (another example from the edition illustrated).
P. Aspden, “You can’t be serious,” Financial Times, 2 September 2011, p. 8 (another example from the edition illustrated).
D. Fortenberry and G. A. Bailey, Art in Time: A World History of Styles and Movements, London, 2014, p. 27 (another example from the edition illustrated).
New York, Cable Gallery, charm of tradition, October-November 1985 (another example from the edition exhibited).
Cleveland Center for Contemporary Art, New New York, February-March 1986.
Washington, D.C., Washington Project for the Arts, Haim Steinbach, February-March 1986 (another example from the edition exhibited).
University of Chicago, Renaissance Society, New Sculpture: Robert Gober, Jeff Koons, Haim Steinbach, May-June 1986.
Los Angeles, Otis Parsons Exhibition Center, A Brokerage of Desire, July-August 1986.
Madrid, Sala de Expositiones de la Fundación Caja de Pensiones, El Arte y su Doble: Una perspectiva de Neuva York, February-March 1987 (another example from the edition exhibited).
Greenvale, Long Island University, Hillwood Gallery, Perverted by Language, February-March 1987 (another example from the edition exhibited).
Paris, Centre Georges Pompidou, Carte Blanche: Les Courtiers du Désir, April-May 1987, p. 48 (another example from the edition exhibited and illustrated).
Milwaukee Art Museum, Current 12: Simulations, New American Conceptualism, November 1987-January 1988 (another example from the edition exhibited).
Amsterdam, Stedelijk Museum, Horn of Plenty, January-February 1989 (another example from the edition exhibited).
Indianapolis Museum of Art; Akron Art Museum; Richmond, Virginia Museum of Fine Arts, Power: Its Myths and Mores in American Art, 1961-1991, September 1991-July 1992, p. 50 (another example from the edition exhibited and illustrated).
Museo D'Arte Contemporanea Castello di Rivoli, Haim Steinbach, October-December 1995, p. 97 (another example from the edition exhibited and illustrated).
Vienna, Museum Moderner Kunst Stiftung Ludwig Wien; University of Southampton, United Kingdom, John Hansard Gallery, Haim Steinbach, November 1997-April 1998, p. 212 (another example from the edition exhibited and illustrated).
Schirn Kunsthalle Frankfurt; Tate Liverpool, Shopping: A Century of Art and Consumer Culture, September 2002-March 2003, p. 208 (another example from the edition exhibited and illustrated).
Cincinnati, Rosenthal Center for Contemporary Art, Crimes and Misdemeanors: Politics and US Art of the 1980’s, November 2003-November 2004 (another example from the edition exhibited).
London, Victoria and Albert Museum, Postmodernism: Style & Subversion, 1970-1990, September 2011-January 2012, pp. 10 and 88 (another example from the edition exhibited and illustrated).
Cleveland Center for Contemporary Art, New New York, February-March 1986.
Washington, D.C., Washington Project for the Arts, Haim Steinbach, February-March 1986 (another example from the edition exhibited).
University of Chicago, Renaissance Society, New Sculpture: Robert Gober, Jeff Koons, Haim Steinbach, May-June 1986.
Los Angeles, Otis Parsons Exhibition Center, A Brokerage of Desire, July-August 1986.
Madrid, Sala de Expositiones de la Fundación Caja de Pensiones, El Arte y su Doble: Una perspectiva de Neuva York, February-March 1987 (another example from the edition exhibited).
Greenvale, Long Island University, Hillwood Gallery, Perverted by Language, February-March 1987 (another example from the edition exhibited).
Paris, Centre Georges Pompidou, Carte Blanche: Les Courtiers du Désir, April-May 1987, p. 48 (another example from the edition exhibited and illustrated).
Milwaukee Art Museum, Current 12: Simulations, New American Conceptualism, November 1987-January 1988 (another example from the edition exhibited).
Amsterdam, Stedelijk Museum, Horn of Plenty, January-February 1989 (another example from the edition exhibited).
Indianapolis Museum of Art; Akron Art Museum; Richmond, Virginia Museum of Fine Arts, Power: Its Myths and Mores in American Art, 1961-1991, September 1991-July 1992, p. 50 (another example from the edition exhibited and illustrated).
Museo D'Arte Contemporanea Castello di Rivoli, Haim Steinbach, October-December 1995, p. 97 (another example from the edition exhibited and illustrated).
Vienna, Museum Moderner Kunst Stiftung Ludwig Wien; University of Southampton, United Kingdom, John Hansard Gallery, Haim Steinbach, November 1997-April 1998, p. 212 (another example from the edition exhibited and illustrated).
Schirn Kunsthalle Frankfurt; Tate Liverpool, Shopping: A Century of Art and Consumer Culture, September 2002-March 2003, p. 208 (another example from the edition exhibited and illustrated).
Cincinnati, Rosenthal Center for Contemporary Art, Crimes and Misdemeanors: Politics and US Art of the 1980’s, November 2003-November 2004 (another example from the edition exhibited).
London, Victoria and Albert Museum, Postmodernism: Style & Subversion, 1970-1990, September 2011-January 2012, pp. 10 and 88 (another example from the edition exhibited and illustrated).
This Lot is Withdrawn.