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拍品 257
Pol Bury (1922-2005)
Vibratile
已結束2018年10月5日
成交價
GBP 100,000
更多資訊
Pol Bury (1922-2005)
Vibratile
signed and dated 'POL BURY 63' (on the reverse)
mobile metal elements on aluminium sheet laid on board, with electric motor
63 x 31 ½ x 9 7/8in. (160 x 80 x 25cm.)
Executed in 1963
Vibratile
signed and dated 'POL BURY 63' (on the reverse)
mobile metal elements on aluminium sheet laid on board, with electric motor
63 x 31 ½ x 9 7/8in. (160 x 80 x 25cm.)
Executed in 1963
Pol Bury (1922-2005)
Vibratile
signed and dated 'POL BURY 63' (on the reverse)
mobile metal elements on aluminium sheet laid on board, with electric motor
63 x 31 ½ x 9 7/8in. (160 x 80 x 25cm.)
Executed in 1963
Vibratile
signed and dated 'POL BURY 63' (on the reverse)
mobile metal elements on aluminium sheet laid on board, with electric motor
63 x 31 ½ x 9 7/8in. (160 x 80 x 25cm.)
Executed in 1963
Premio Marzotto Collection, Valdagno.
Acquired from the above by the present owner.
Acquired from the above by the present owner.
A. Balthazar, Pol Bury, Milan 1967 (illustrated).
D. Ashton, Pol Bury, Paris 1970, p. 71, no. 34 (illustrated).
Pol Bury: Les Caves du Botanique, exh. cat., Brussels, Centre culturel de la communauté française Wallonie-Bruxelles Le Botanique, 1986, p. 87 (illustrated).
R. Ghio (ed.), I Premi Marzotto 1951-1968, Valdagno 1986 (illustrated in colour, p. 93).
R. Phalke (ed.), Pol Bury mit Oeuvrekatalog, exh. cat., Dortmund, Museum am Ostwall Dortmund, 1994, no. 64-12.
L. M. Barbero (ed.), L'arte del XX secolo nelle collezioni private vicentine, exh. cat., Venice, Basilica Palladina, 1998 (illustrated, p. 20).
D. Ashton, Pol Bury, Paris 1970, p. 71, no. 34 (illustrated).
Pol Bury: Les Caves du Botanique, exh. cat., Brussels, Centre culturel de la communauté française Wallonie-Bruxelles Le Botanique, 1986, p. 87 (illustrated).
R. Ghio (ed.), I Premi Marzotto 1951-1968, Valdagno 1986 (illustrated in colour, p. 93).
R. Phalke (ed.), Pol Bury mit Oeuvrekatalog, exh. cat., Dortmund, Museum am Ostwall Dortmund, 1994, no. 64-12.
L. M. Barbero (ed.), L'arte del XX secolo nelle collezioni private vicentine, exh. cat., Venice, Basilica Palladina, 1998 (illustrated, p. 20).
Valdagno, Premio Marzotto: Mostra di pittura contemporanea comunità europea,1963-1964, 1963-1964 (illustrated in colour, p. 73).
Valdagno, Premio Marzotto: Mostra di pittura contemporanea comunità europea, 1964-1965, 1964-1965, no. 13 (illustrated in colour, unpaged). This exhibition later travelled to Baden-Baden; Berlin; London, Whitechapel Gallery; Amsterdam and Paris.
Venice, Biennale di Venezia, XXXIV Esposizione internazionale d'arte, 1968.
Hanover, Kestner Gesellschaft, Pol Bury, 1971-1973, no. 21 (illustrated, p. 18). This exhibition later travelled to Berlin, National Galerie; Dusseldorf, Städtische Kunsthalle; Charleroi, Palais des Beaux-Arts and Paris, Centre national d'art contemporain.
Valdagno, Premio Marzotto: Mostra di pittura contemporanea comunità europea, 1964-1965, 1964-1965, no. 13 (illustrated in colour, unpaged). This exhibition later travelled to Baden-Baden; Berlin; London, Whitechapel Gallery; Amsterdam and Paris.
Venice, Biennale di Venezia, XXXIV Esposizione internazionale d'arte, 1968.
Hanover, Kestner Gesellschaft, Pol Bury, 1971-1973, no. 21 (illustrated, p. 18). This exhibition later travelled to Berlin, National Galerie; Dusseldorf, Städtische Kunsthalle; Charleroi, Palais des Beaux-Arts and Paris, Centre national d'art contemporain.
This work will be included in the forthcoming Pol Bury Catalogue Raisonné, currently being prepared by Gilles Marquenie in collaboration with Velma Bury.
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
專家說明
‘Why is randomness so important to you?’ ‘Because it changes the regularity of the movement. Regularity is boring. You cannot look long at a regular movement unless you want to have your brain washed.’ – Peter Selz in conversation with Pol Bury