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拍品 223
Felix Gonzalez-Torres (1957-1996)
"Untitled" (Sand)
競投開始尚餘
成交價
USD 365,000
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Felix Gonzalez-Torres (1957-1996)
"Untitled" (Sand)
signed, dated and numbered 'Felix Gonzalez-Torres 1994 2/12' (on the reverse of each element)
eight elements--portfolio of photogravures on Somerset Satin paper in silk-covered archival box
each image: 6 1/4 x 9 1/8 in. (15.8 x 23.1 cm.)
each sheet: 12 1/2 x 15 1/4 in. (30.4 x 38.7 cm.)
(8)Executed in 1993-1994. This work is number two from an edition of twelve plus six artist's proofs.
"Untitled" (Sand)
signed, dated and numbered 'Felix Gonzalez-Torres 1994 2/12' (on the reverse of each element)
eight elements--portfolio of photogravures on Somerset Satin paper in silk-covered archival box
each image: 6 1/4 x 9 1/8 in. (15.8 x 23.1 cm.)
each sheet: 12 1/2 x 15 1/4 in. (30.4 x 38.7 cm.)
(8)Executed in 1993-1994. This work is number two from an edition of twelve plus six artist's proofs.
Felix Gonzalez-Torres (1957-1996)
"Untitled" (Sand)
signed, dated and numbered 'Felix Gonzalez-Torres 1994 2/12' (on the reverse of each element)
eight elements--portfolio of photogravures on Somerset Satin paper in silk-covered archival box
each image: 6 1/4 x 9 1/8 in. (15.8 x 23.1 cm.)
each sheet: 12 1/2 x 15 1/4 in. (30.4 x 38.7 cm.)
(8)Executed in 1993-1994. This work is number two from an edition of twelve plus six artist's proofs.
"Untitled" (Sand)
signed, dated and numbered 'Felix Gonzalez-Torres 1994 2/12' (on the reverse of each element)
eight elements--portfolio of photogravures on Somerset Satin paper in silk-covered archival box
each image: 6 1/4 x 9 1/8 in. (15.8 x 23.1 cm.)
each sheet: 12 1/2 x 15 1/4 in. (30.4 x 38.7 cm.)
(8)Executed in 1993-1994. This work is number two from an edition of twelve plus six artist's proofs.
Andrea Rosen Gallery, New York
Acquired from the above by the present owner
Acquired from the above by the present owner
C. Merewether, “Felix Gonzalez-Torres: El pasado por venir,” Atlantica International, Winter 1994-1995, pp. 40-41 and 148 (illustrated).
T. Folland, “In the Field at Margo Leavin,” Art Issues, January 1995, p. 44 (illustrated).
C. Chapman, “Personal Effects: On Aspects of Work by Felix Gonzalez-Torres,” BROADsheet, Spring 1996, p. 17.
L. Ericsson, “om det Verkliga - fran Datum till Constructum,” Index, March/April 1996, p. 73 (detail illustrated).
D. Elger, Felix Gonzalez-Torres Catalogue Raisonné, Ostfildern-Ruit, 1997, p. 132, no. 264 (illustrated).
B. Arning, “a/drift,” World Art 13, 1997, pp. 74-75 (illustrated).
V.P. Hoyningen-Huene, “Wissensfortschritt? Fortschritt der Skepsis,” Du Magazin, October 1997, pp. 1.18 and 1.36 (illustrated).
C. Merewether, “A Lasting Impression,” Trace: The Liverpool Biennial of Contemporary Art, Liverpool, 2000, pp. 164-171 (illustrated).
J. Ault, ed., Felix Gonzalez-Torres, Gottingen, 2006, pp. 221-223.
K. Rosenberg, “Modern Photography in a Brand-New Space,” The New York Times, 28 September 2007 (illustrated).
K. Johnson, “A Celebration of Sand in Vast Quantities or One Grain at a Time,” The New York Times, 11 July 2008, p. E32 (illustrated).
B. Genocchio, “Celebrating the Beach, Whether in Paint or Sand,” The New York Times, 27 July 2008 (illustrated).
B. Luca, Teatro del Sogno Da Chagall A Fellini, Milan, 2010, pp. 192-193 (illustrated).
T. Folland, “In the Field at Margo Leavin,” Art Issues, January 1995, p. 44 (illustrated).
C. Chapman, “Personal Effects: On Aspects of Work by Felix Gonzalez-Torres,” BROADsheet, Spring 1996, p. 17.
L. Ericsson, “om det Verkliga - fran Datum till Constructum,” Index, March/April 1996, p. 73 (detail illustrated).
D. Elger, Felix Gonzalez-Torres Catalogue Raisonné, Ostfildern-Ruit, 1997, p. 132, no. 264 (illustrated).
B. Arning, “a/drift,” World Art 13, 1997, pp. 74-75 (illustrated).
V.P. Hoyningen-Huene, “Wissensfortschritt? Fortschritt der Skepsis,” Du Magazin, October 1997, pp. 1.18 and 1.36 (illustrated).
C. Merewether, “A Lasting Impression,” Trace: The Liverpool Biennial of Contemporary Art, Liverpool, 2000, pp. 164-171 (illustrated).
J. Ault, ed., Felix Gonzalez-Torres, Gottingen, 2006, pp. 221-223.
K. Rosenberg, “Modern Photography in a Brand-New Space,” The New York Times, 28 September 2007 (illustrated).
K. Johnson, “A Celebration of Sand in Vast Quantities or One Grain at a Time,” The New York Times, 11 July 2008, p. E32 (illustrated).
B. Genocchio, “Celebrating the Beach, Whether in Paint or Sand,” The New York Times, 27 July 2008 (illustrated).
B. Luca, Teatro del Sogno Da Chagall A Fellini, Milan, 2010, pp. 192-193 (illustrated).
Museum of the City of St. Petersburg, Julie Sylvester Editions/St. Petersburg: Editions by Mike Kelley, Felix Gonzalez-Torres, Richard Prince, Sue Williams, David Salle, July 1994 (another example exhibited).
Los Angeles, Margo Leavin Gallery, In the Field: Landscape in Recent Photography, October-November 1994 (another example exhibited).
New York, The Solomon R. Guggenheim Museum, Felix Gonzalez-Torres, March-May 1995, pp. 113-115 and 117 (illustrated, another example exhibited).
Munich, Akademie der Bildenden Künste, Felix Gonzalez-Torres, Roni Horn, May-October 1995, pp. 44-45 (illustrated, another example exhibited).
Musée d'Art Moderne de la Ville de Paris, Passions privées. Collections particulieères d'art moderne et contemporain en France, December 1995-March 1996, pp. 654, 660 and 663 (illustrated, another example exhibited).
Annandale-on-Hudson, Bard College, Center for Curatorial Studies, A/Drift, October 1996-January 1997, pp. 12, 104-105 (illustrated, another example exhibited).
Caracas, Museo Alejandro Otero, Sin Fronteras, November 1996-March 1997, pp. 37, 51, 74, 83-84 (illustrated, another example exhibited).
New York, Kent, Is There Still Life, September-October 1997 (another example exhibited).
Museum Moderner Kunst Stiftung Ludwig Wien, Felix Gonzalez-Torres, September-November 1998 (another example exhibited).
Annandale-on-Hudson, Bard College, Center for Curatorial Studies, Felix Gonzalez-Torres: Snapshots, September-December 1999 (another example exhibited).
Stamford, The Whitney Museum of American Art at Champion, Contemporary Narratives in American Prints, November 1999-February 2000, p. 1 (illustrated, another example exhibited).
Frankfurt am Main, Museum für Moderne Kunst, Change of Scene XVIII: Paare (Couples): Gilbert & George and Felix Gonzalez-Torres, September 2000-March 2001, pp. 33-59 (illustrated, another example exhibited).
Paris, Galerie Jennifer Flay, Always Paris, November-December 2000 (another example exhibited).
Baltimore Art Museum, Body Space, February-May 2001 (another example exhibited).
Mexico City, Ecatapec, La Colección Jumex, Theory of Leisure, January-August 2002, pp. 52, 128-129 (illustrated, another example exhibited).
Munich, Museum Villa Stuck, Hautnah: Die Sammlung Goetz, May-August 2002, pp. 39-41 (illustrated, another example exhibited).
Mexico City, Antiguo Colegio de San Ildefonso and Bogotá, Biblioteca Luis Ángel Arango, Edén, March-June 2003, pp. 128-129 (illustrated, another example exhibited).
Paris, Galerie Emmanuel Perrotin, Empreinte Moi: Une Exposition de Philippe Ségalot, October-December 2005, n.p. (illustrated, another example exhibited).
New York, The Whitney Museum of American Art, Skin is a Language, January-May 2006 (another example exhibited).
New York, El Museo del Barrio, Felix Gonzalez-Torres: Early Impressions, February-May 2006 (illustrated on the cover and inside cover, another example exhibited).
New York, The Metropolitan Museum of Art, Depth of Field: Modern Photography at the Metropolitan, September 2007-March 2008 (another example exhibited).
Annandale-on-Hudson, Bard College, Center for Curatorial Studies, Hessel Museum of Art, Second Thoughts, March-May 2008 (another example exhibited).
Southhampton, Parrish Art Museum, SAND: Memory, Meaning and Metaphor, June-September 2008, pp. 4-5, 48 and 134 (illustrated, another example exhibited).
New York, The Solomon R. Guggenheim Museum, Haunted: Contemporary Photography/Video/Performance, June-September 2010 (another example exhibited).
Miami, De La Cruz Collection Contemporary Art Space, December 2010-November 2011 (another example exhibited).
Mexico City, Ecatepec, La Colección Jumex, Destello [Glimmer], April-September 2011 (another example exhibited).
Boston, Museum of Fine Arts and Dublin, Irish Museum of Modern Art, Conversations: Photography from the Bank of America Collection, February 2011-May 2012, pp. 103 and 105 (illustrated, another example exhibited).
Los Angeles, Margo Leavin Gallery, In the Field: Landscape in Recent Photography, October-November 1994 (another example exhibited).
New York, The Solomon R. Guggenheim Museum, Felix Gonzalez-Torres, March-May 1995, pp. 113-115 and 117 (illustrated, another example exhibited).
Munich, Akademie der Bildenden Künste, Felix Gonzalez-Torres, Roni Horn, May-October 1995, pp. 44-45 (illustrated, another example exhibited).
Musée d'Art Moderne de la Ville de Paris, Passions privées. Collections particulieères d'art moderne et contemporain en France, December 1995-March 1996, pp. 654, 660 and 663 (illustrated, another example exhibited).
Annandale-on-Hudson, Bard College, Center for Curatorial Studies, A/Drift, October 1996-January 1997, pp. 12, 104-105 (illustrated, another example exhibited).
Caracas, Museo Alejandro Otero, Sin Fronteras, November 1996-March 1997, pp. 37, 51, 74, 83-84 (illustrated, another example exhibited).
New York, Kent, Is There Still Life, September-October 1997 (another example exhibited).
Museum Moderner Kunst Stiftung Ludwig Wien, Felix Gonzalez-Torres, September-November 1998 (another example exhibited).
Annandale-on-Hudson, Bard College, Center for Curatorial Studies, Felix Gonzalez-Torres: Snapshots, September-December 1999 (another example exhibited).
Stamford, The Whitney Museum of American Art at Champion, Contemporary Narratives in American Prints, November 1999-February 2000, p. 1 (illustrated, another example exhibited).
Frankfurt am Main, Museum für Moderne Kunst, Change of Scene XVIII: Paare (Couples): Gilbert & George and Felix Gonzalez-Torres, September 2000-March 2001, pp. 33-59 (illustrated, another example exhibited).
Paris, Galerie Jennifer Flay, Always Paris, November-December 2000 (another example exhibited).
Baltimore Art Museum, Body Space, February-May 2001 (another example exhibited).
Mexico City, Ecatapec, La Colección Jumex, Theory of Leisure, January-August 2002, pp. 52, 128-129 (illustrated, another example exhibited).
Munich, Museum Villa Stuck, Hautnah: Die Sammlung Goetz, May-August 2002, pp. 39-41 (illustrated, another example exhibited).
Mexico City, Antiguo Colegio de San Ildefonso and Bogotá, Biblioteca Luis Ángel Arango, Edén, March-June 2003, pp. 128-129 (illustrated, another example exhibited).
Paris, Galerie Emmanuel Perrotin, Empreinte Moi: Une Exposition de Philippe Ségalot, October-December 2005, n.p. (illustrated, another example exhibited).
New York, The Whitney Museum of American Art, Skin is a Language, January-May 2006 (another example exhibited).
New York, El Museo del Barrio, Felix Gonzalez-Torres: Early Impressions, February-May 2006 (illustrated on the cover and inside cover, another example exhibited).
New York, The Metropolitan Museum of Art, Depth of Field: Modern Photography at the Metropolitan, September 2007-March 2008 (another example exhibited).
Annandale-on-Hudson, Bard College, Center for Curatorial Studies, Hessel Museum of Art, Second Thoughts, March-May 2008 (another example exhibited).
Southhampton, Parrish Art Museum, SAND: Memory, Meaning and Metaphor, June-September 2008, pp. 4-5, 48 and 134 (illustrated, another example exhibited).
New York, The Solomon R. Guggenheim Museum, Haunted: Contemporary Photography/Video/Performance, June-September 2010 (another example exhibited).
Miami, De La Cruz Collection Contemporary Art Space, December 2010-November 2011 (another example exhibited).
Mexico City, Ecatepec, La Colección Jumex, Destello [Glimmer], April-September 2011 (another example exhibited).
Boston, Museum of Fine Arts and Dublin, Irish Museum of Modern Art, Conversations: Photography from the Bank of America Collection, February 2011-May 2012, pp. 103 and 105 (illustrated, another example exhibited).
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
專家說明
"The subtly mottled gray-and-white surface tones of these prints mirror the fine grains of sand on the beach, which have softly shifted to accommodate the countless impressions of feet that are captured in the photograph [...] It is the trace of previous inhabitants that injects meaning into [the] picture, however open-ended that meaning might be" (N. Spector,
Felix Gonzalez-Torres, exh. cat., Solomon R. Guggenheim Museum, New York, 1995, p. 117.)
Felix Gonzalez-Torres, exh. cat., Solomon R. Guggenheim Museum, New York, 1995, p. 117.)