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TOM WESSELMANN (1931-2004)

 
TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in. TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in.
Radio Edition1964/9129 1/2 x 37 1/2 in. enamel on cut-out steel
Provenance
Gift from the artist
Private Collection, New York

75,000

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Alexander Calder's "The Palm Tree" (1947) has an understated beauty and brings to life Calder's mastery of the oil paint medium. The present work is  registered in the archives of the Calder Foundation, New York, under application number #A08381. This painting was acquired by the current owner directly from Perls Galleries in New York in 1974. Perls was one of the primary dealers of Calder's work. The painting has never been to auction and has remained in the same private collection since 1974.

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Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

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Henry Moore, a father of Modern British sculpture, is known for his large-scale, semi-abstract figurative sculptures in bronze, wood, and marble. This 1960 bronze sculpture of two seated figures demonstrates Moore’s gestural treatment of material. The focus on a family group is reflective of the artist’s move toward a sense of optimism after World War II. Small sculptures like this one are rare, and in subject mater and composition are reminiscent of his earlier seated figures based upon ancient Egyptian royal sculpture.

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TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

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