Miriam Shiell Fine Art

Ontario M5R 2E2 Toronto
Canada
Phone : 4169252461
Mobile Ph. : 4168093516
Email : fineart@miriamshiell.com
URL : miriamshiell.com/

About

Arriving in Toronto in 1977, Miriam Shiell practiced as an art dealer in various iterations, beginning as Waddington Galleries, Theo Waddington Galleries (1978), Waddington and Shiell (1982) before finally settling into 16A Hazelton Avenue in 1992 as Miriam Shiell Fine Art.

Over the years, Miriam Shiell Fine Art has developed as a dealer, buying and selling on our own account and for clients, estates and artists working in the secondary market. Miriam Shiell Fine Art specializes in 20th Century Modern and Post-War Canadian, American, and European Painting, Sculpture, and works on paper.
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Milton Avery Trees by the Bay, 1947
Milton Avery (American, 1885 – 1965) was a painter known for his portraits, still lifes, and landscapes. In 1918, he attended the School of Art Society of Hartford and in 1924 he became a member of the Connecticut Academy Fine Arts. A year later, he moved to New Jersey and between the years of 1926 to 1939, he attended sketch classes at the Art Students League in New York where he became acquainted with Adolph Gottlieb, Mark Rothko, and Barnett Newman. It was at the time that Avery’s work became increasingly more abstract.

Unlike his peers, Avery did not enjoy widespread recognition for his work until 1957 when the influential art critic Clement Greenberg wrote an article on Avery in Arts Magazine. In 1960, he had a retrospective of his work at the Whitney Museum of American art. He was often referred to as the American Matisse because of his use of bright colours and innovative brush work. His work is typified by broad swaths of colour, and simplified compositions. Trees by the Bay excellent example of one of his favourite motifs in painting: the landscape. Here, the simplicity of form and texture allows the viewer to escape into rest and relaxation.

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Milton Avery Pool Player, 1929
Milton Avery (American, 1885 – 1965) was a painter known for his portraits, still lifes, and landscapes. In 1918, he attended the School of Art Society of Hartford and in 1924 he became a member of the Connecticut Academy Fine Arts. A year later, he moved to New Jersey and between the years of 1926 to 1939, he attended sketch classes at the Art Students League in New York where he became acquainted with Adolph Gottlieb, Mark Rothko, and Barnett Newman. It was at the time that Avery’s work became increasingly more abstract.

Unlike his peers, Avery did not enjoy widespread recognition for his work until 1957 when the influential art critic Clement Greenberg wrote an article on Avery in Arts Magazine. In 1960, he had a retrospective of his work at the Whitney Museum of American art. He was often referred to as the American Matisse because of his use of bright colours and innovative brush work. His paintings frequently oscillate between abstraction and figuration through the use of flat areas of colour to depict form.

According to Barbara Haskell, Avery’s figurative works are typical of the New York art scene in the 1920s in which figures are placed upon a minimalist almost flat background. His ability to convey mood using colour and painterly technique imbues his portrayals with a contemplative quietude which is then relayed to the viewer.

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Jean Arp Apparat d'une danse, 1961
Jean Arp (German – French 1886 – 1966) was a painter, poet and sculptor who was a founding member of the Dadaist movement before turning to Abstract Art. His sculptures—both his rounded biomorphic forms and reliefs are known for their playfully ambiguous organic forms inspired by nature. Apparat d’une danse is one of his later works, where the almost two dimensionality of his wooden bas-relief works of the 1960s make a reappearance, albeit on a much grander scale. This work was included in the Festival de Mondi’s summer 1962 open-air exhibition “Sculture nella Città" (Sculptures in the City) was organized by Giovanni Caranda. The exhibition included works by Arp, Alexander Calder, Lynn Chadwick, Henry Moore, and David Smith amongst others. As renowned critic David Sylvester noted in his review of the exhibition, open-air sculpture exhibitions were then in vogue, and yet “Sculture nella Città" offered something different by setting the sculpture within the lived space of city centre and “integrating new shapes into old settings”. “Sculture nella Città" emphasized the architectural past with the contemporary art of the present, making the exhibition one of the significant and experimental sculpture exhibitions of the twentieth century.

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Guy Dill Venice Delicate, 2012
Guy Dill (American 1946 - ) is a sculptor whose sculpture’s dynamic, balanced forms slip back and forth of the sweeping, gestural forms of a ‘figure’ and the heavier, structural proportionality of welded bronze. Dill uses silicon bronze, which is bronze that silicon has been added to in order to make it more malleable. It is rolled it into sheets, and cut into the various pieces of the sculpture, and then folded to make the piece, which is then welded together. Based in Venice, California, Guy Dill’s early work was part of the 70s and 80s California post-minimalism movement, which featured the artists such as Ellsworth Kelly, Richard Serra, and Richard Tuttle. While some of Dill’s imagery can be traced back to this early stage in his career, his mature work is far more classically modernist, using traditional materials with a high-tech approach to fabrication. Dill’s work is included in international collections such as the Solomon R. Guggenheim Museum, the Museum of Modern Art, and the Stedelijk Museum.

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Hans Hofmann The City, 1940
Hans Hofmann (German - American, 1880 – 1966) is considered to have preceded and influenced Abstract Expressionism and is known for his bold colour combinations. Hofmann was always evolving in his techniques, and The City can be seen as a precursor to his slab paintings from the 1950s which include allusions to architectural elements. In his book Hofmann (1961), Clement Greenberg says of the artist’s work: “Unlike Matisse, Hofmann has come to require his color to be saturated corporeally as well as optically. The weight and density of his paint-attributes it has even when it is not thickly impastoed--contribute to the presence his pictures have as objects as well as pictures.”

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Robert Motherwell Open No. 79 In Gray with Charcoal, 1969
Robert Motherwell (American, 1915 - 1991) was an American Abstract Expressionist painter. His Open Series uses the artistic trope of the window in order to examine ideas of colour and geometry as well a metaphor for the relationship between our inner world of emotions and the outer world of senses. This work is part of Robert Motherwell's "Open" Series which focused on the theme of the window, began in 1967 entirely by a chance juxtaposition of a smaller canvas leaning against a larger one. Motherwell then outlined the silhouette of the smaller canvas and then turned it upside down creating the “U” shape that predominates the series. After his death in 1991, Clement Greenberg noted that “he was one of the greatest of the Abstract Expressionist painters.”

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Robert Motherwell Open Study in Tobacco Brown, 1971
Robert Motherwell (American, 1915 - 1991) was an American Abstract Expressionist painter. His Open Series uses the artistic trope of the window in order to examine ideas of colour and geometry as well a metaphor for the relationship between our inner world of emotions and the outer world of senses. This work is part of Robert Motherwell's "Open" Series which focused on the theme of the window, began in 1967 entirely by a chance juxtaposition of a smaller canvas leaning against a larger one. Motherwell then outlined the silhouette of the smaller canvas and then turned it upside down creating the “U” shape that predominates the series. After his death in 1991, Clement Greenberg noted that “he was one of the greatest of the Abstract Expressionist painters.”

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Robert Motherwell Open No. 140: Charcoal on Cream, 1969
Robert Motherwell (American, 1915 - 1991) was an American Abstract Expressionist painter. His Open Series uses the artistic trope of the window in order to examine ideas of colour and geometry as well a metaphor for the relationship between our inner world of emotions and the outer world of senses. This work is part of Robert Motherwell's "Open" Series which focused on the theme of the window, began in 1967 entirely by a chance juxtaposition of a smaller canvas leaning against a larger one. Motherwell then outlined the silhouette of the smaller canvas and then turned it upside down creating the “U” shape that predominates the series. After his death in 1991, Clement Greenberg noted that “he was one of the greatest of the Abstract Expressionist painters.”

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Jules Olitski God Wisdom, 1984
Jules Olitski (Russian – American, 1922 – 2007) was a Colour Field painter once heralded by Clement Greenberg as “the greatest painter” alive. He is known for his works which focus on the interaction of the surface and colour. He was a pioneer for using an industrial spray gun to create paintings with layers of different colours, changing the hue in a subtle progression to create ethereal works. His works ranged from the early spray paintings in the 1960s as exemplified in such as in Marcus Flight, Facer, and Sunset to the thick impasto surfaces of the 1970s and beyond. Works such as God Wisdom or Mind’s Quote incorporates both, the spray over a lined surfaced of impasto.

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Jules Olitski Marcus Flight, 1968
Jules Olitski (Russian – American, 1922 – 2007) was a Colour Field painter once heralded by Clement Greenberg as “the greatest painter” alive. He is known for his works which focus on the interaction of the surface and colour. He was a pioneer for using an industrial spray gun to create paintings with layers of different colours, changing the hue in a subtle progression to create ethereal works. His works ranged from the early spray paintings in the 1960s as exemplified in such as in Marcus Flight, Facer, and Sunset to the thick impasto surfaces of the 1970s and beyond. Works such as God Wisdom or Mind’s Quote incorporates both, the spray over a lined surfaced of impasto.

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Jules Olitski Sunset, 1968
Jules Olitski (Russian – American, 1922 – 2007) was a Colour Field painter once heralded by Clement Greenberg as “the greatest painter” alive. He is known for his works which focus on the interaction of the surface and colour. He was a pioneer for using an industrial spray gun to create paintings with layers of different colours, changing the hue in a subtle progression to create ethereal works. His works ranged from the early spray paintings in the 1960s as exemplified in such as in Marcus Flight, Facer, and Sunset to the thick impasto surfaces of the 1970s and beyond. Works such as God Wisdom or Mind’s Quote incorporates both, the spray over a lined surfaced of impasto.

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Karel Appel L'Oiseau en Chasse, 1961
Karel Appel (Dutch, 1921 – 2006) was one the founders of the influential CoBrA group.While the movement was short-lived (1948 – 1951), the group’s working methods were a refutation to the existing art movements at the time. Instead, the CoBrA artists championed spontaneity and experimentation in the creation of works of art which would have a continued influence on Appel's art for the remainder of his career. Although Appel’s work was not immediately recognized in the Netherlands, when he moved to Paris in 1950 his work was praised by the influential critic and curator Michel Tapié, gaining him international success. It was also at this time that he saw the work Jean Dubuffet and he met the Parisian avant-garde artists Jean-Paul Riopelle and Sam Francis. Appel's paintings are known for their expressive colours and forms which alternate between abstraction and figuration. Inspired by folk and children’s art, L'Oiseau en Chasse (1961) is typical of Appel’s vocabulary of birds and beasts, using thick, expressive brushstrokes and paint directly from the tube to build up the canvas in a cacophony of line and colour.

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Kenneth Noland Doors - Sea View, 1988
Kenneth Noland (American, 1924 -2010) was known for his paintings which examined the emotional effects of colour and geometric forms. Noland met Helen Frankenthaler and Clement Greenberg in 1953 which would have a profound effect on his art making. Using circles, chevrons, diamonds, shaped canvases throughout his career. The Doors – Sea View is part of Noland’s “Doors” series, a motif that incorporates aspects of the 1970s shaped canvases. These later works are known for their complex applications of clear, glass-like gels which were scraped and slid across a coloured underpainting. The plexiglass panels in the works act like drawing, defining the structure to the work as a whole.

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About the Artist

Milton Avery
Trees by the Bay. 1947
Oil on Canvas, 35.8 x 27.9 inches (stretcher bar to stretcher bar)
Signed and dated recto lower left "Milton Avery 1947" Signed, titled, dated on verso "Trees by the Bay by Milton Avery/1947/36" x 28"

More info
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Milton Avery (American, 1885 – 1965) was a painter known for his portraits, still lifes, and landscapes. In 1918, he attended the School of Art Society of Hartford and in 1924 he became a member of the Connecticut Academy Fine Arts. A year later, he moved to New Jersey and between the years of 1926 to 1939, he attended sketch classes at the Art Students League in New York where he became acquainted with Adolph Gottlieb, Mark Rothko, and Barnett Newman. It was at the time that Avery’s work became increasingly more abstract.

Unlike his peers, Avery did not enjoy widespread recognition for his work until 1957 when the influential art critic Clement Greenberg wrote an article on Avery in Arts Magazine. In 1960, he had a retrospective of his work at the Whitney Museum of American art. He was often referred to as the American Matisse because of his use of bright colours and innovative brush work. His work is typified by broad swaths of colour, and simplified compositions.


The Estate of the Artist
Private Collection, Canada


Milton Avery
Pool Player, 1929
Oil on Canvas, 36 x 28 inches
Signature Recto

More info
x

Milton Avery (American, 1885 – 1965) was a painter known for his portraits, still lifes, and landscapes. In 1918, he attended the School of Art Society of Hartford and in 1924 he became a member of the Connecticut Academy Fine Arts. A year later, he moved to New Jersey and between the years of 1926 to 1939, he attended sketch classes at the Art Students League in New York where he became acquainted with Adolph Gottlieb, Mark Rothko, and Barnett Newman. It was at the time that Avery’s work became increasingly more abstract.

Unlike his peers, Avery did not enjoy widespread recognition for his work until 1957 when the influential art critic Clement Greenberg wrote an article on Avery in Arts Magazine. In 1960, he had a retrospective of his work at the Whitney Museum of American art. He was often referred to as the American Matisse because of his use of bright colours and innovative brush work. His work is typified by broad swaths of colour, and simplified compositions.


The Estate of the Artist
Private Collection, Canada


Jean Arp
Apparat d;une danse , 1961
Bronze, 46.2 x 43.1 x 6.2 inches (177.5 x 109.5 x 15.8 cm)
The base measures: 23.6 x 34.6 x 17.3 inches (H X W X D) // 60 x 88 x 44 cm (H x W x D)
The sculpture itself overhangs the base, width-wise, and measures about 43.3 inches (110cm) wide.
Overall height is 91.3 inches (232 cm.)
Numbered 0/2 (on the interior)

More info
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Jean Arp (German – French 1886 – 1966) was a painter, poet and sculptor who was a founding member of the Dadaist movement before turning to Abstract Art. His sculptures—both his rounded biomorphic forms and reliefs are known for their playfully ambiguous organic forms inspired by nature. Apparat d’une danse is one of his later works, where the almost two dimensionality of his wooden bas-relief works of the 1960s make a reappearance, albeit on a much grander scale. This work was included in the Festival de Mondi’s summer 1962 open-air exhibition “Sculture nella Città" (Sculptures in the City) was organized by Giovanni Caranda. The exhibition included works by Arp, Alexander Calder, Lynn Chadwick, Henry Moore, and David Smith amongst others. As renowned critic David Sylvester noted in his review of the exhibition, open-air sculpture exhibitions were then in vogue, and yet “Sculture nella Città" offered something different by setting the sculpture within the lived space of city centre and “integrating new shapes into old settings”. “Sculture nella Città" emphasized the architectural past with the contemporary art of the present, making the exhibition one of the significant and experimental sculpture exhibitions of the twentieth century.


Conceived and Cast in 1961
Mme. Givenchy
Hokin Gallery, Chicago
Private Collection, Massachusetts
Sotheby’s New York Sale, November 6, 2002, Lot 294
Private Collection, California
Sotheby’s Impressionist and Modern Art Day Sale, 13 November 2018, Lot 333


Guy Dill
Venice Delicate, 2012
Silicon Bronze, 78.5 x 33 x 20.75 inches
Signed and Dated on base

More info
x

Guy Dill (American 1946 - ) is a sculptor whose sculpture’s dynamic, balanced forms slip back and forth of the sweeping, gestural forms of a ‘figure’ and the heavier, structural proportionality of welded bronze. Dill uses silicon bronze, which is bronze that silicon has been added to in order to make it more malleable. It is rolled it into sheets, and cut into the various pieces of the sculpture, and then folded to make the piece, which is then welded together. Based in Venice, California, Guy Dill’s early work was part of the 70s and 80s California post-minimalism movement, which featured the artists such as Ellsworth Kelly, Richard Serra, and Richard Tuttle. While some of Dill’s imagery can be traced back to this early stage in his career, his mature work is far more classically modernist, using traditional materials with a high-tech approach to fabrication. Dill’s work is included in international collections such as the Solomon R. Guggenheim Museum, the Museum of Modern Art, and the Stedelijk Museum.


From the artist

Exhibitions:
Guy Dill, Sculpture, Miriam Shiell Fine Art, May – June 2012

Literature:
Guy Dill (exhibition catalogue), Miriam Shiell Fine Art, Toronto, illustration p. 13 - 16


Hans Hofmann
The City, 1940
Oil on plywood, 7.5 x 8 inches
Inscribed Recto lower righ

More info
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Hans Hofmann (German - American, 1880 – 1966) is considered to have preceded and influenced Abstract Expressionism and is known for his bold colour combinations. Hofmann was always evolving in his techniques, and The City can be seen as a precursor to his slab paintings from the 1950s which include allusions to architectural elements. In his book Hofmann (1961), Clement Greenberg says of the artist’s work: “Unlike Matisse, Hofmann has come to require his color to be saturated corporeally as well as optically. The weight and density of his paint-attributes it has even when it is not thickly impastoed--contribute to the presence his pictures have as objects as well as pictures.”


Ameringer McEnery Yohe Gallery, New York
Morrison Gallery, Connecticut
Private Collection, Canada


Robert Motherwell
Open No. 79 In Gray with Charcoal, 1969
Acrylic on Canvas, 41.25 x 61.25 x 2 inches
Initialed Recto and Inscribed Verso “For Renate Ponsold [the artist’s widow] Easter Day 1972”

More info
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Robert Motherwell (American, 1915 - 1991) was an American Abstract Expressionist painter. His Open Series uses the artistic trope of the window in order to examine ideas of colour and geometry as well a metaphor for the relationship between our inner world of emotions and the outer world of senses. This work is part of Robert Motherwell's "Open" Series which focused on the theme of the window, began in 1967 entirely by a chance juxtaposition of a smaller canvas leaning against a larger one. Motherwell then outlined the silhouette of the smaller canvas and then turned it upside down creating the “U” shape that predominates the series. After his death in 1991, Clement Greenberg noted that “he was one of the greatest of the Abstract Expressionist painters.”


Gift of the artist to Renate Ponsold Motherwell in April 1972

Literature:
H. H. Arnason, Robert Motherwell, New York 1982, p. 163, full page illustrated in color (erroneously titled “Easter Day”).
Jack Flam, Katy Rogers and Tim Clifford, Eds., Robert Motherwell Paintings and Collages: A Catalogue Raisonné, 1941-1991, Vol. 2: Paintings on Canvas and Panel, New Haven 2012, cat. no. P4, p. 257, illustrated in colour.


Robert Motherwell
Open Study in Tobacco Brown, 1971
Acrylic on Canvas, 20 x 30 inches
Intialled recto upper left
Artist’s Studio Number: P71-1175
Motherwell Catalogue Raisonné Number: P610

More info
x

Robert Motherwell (American, 1915 - 1991) was an American Abstract Expressionist painter. His Open Series uses the artistic trope of the window in order to examine ideas of colour and geometry as well a metaphor for the relationship between our inner world of emotions and the outer world of senses. This work is part of Robert Motherwell's "Open" Series which focused on the theme of the window, began in 1967 entirely by a chance juxtaposition of a smaller canvas leaning against a larger one. Motherwell then outlined the silhouette of the smaller canvas and then turned it upside down creating the “U” shape that predominates the series. After his death in 1991, Clement Greenberg noted that “he was one of the greatest of the Abstract Expressionist painters.”


Dedalus Foundation
Jerald Melberg Gallery

Literature:
Jack Flam, Katy Rogers and Tim Clifford, Eds., Robert Motherwell Paintings and Collages: A Catalogue
Raisonné, 1941-1991, Vol. 2: Paintings on Canvas and Panel, New Haven 2012, cat. no. P610, p. 317,
illustrated in colour.


Robert Motherwell
Open No. 140: Charcoal on Cream, 1969
Acrylic and Charcoal on Canvas, 12 x 18 inches
Signature on verso “R Motherwell \ 1969”
Artist’s Studio Number: P69-284
Motherwell Catalogue Raisonné Number: P545

More info
x

Robert Motherwell (American, 1915 - 1991) was an American Abstract Expressionist painter. His Open Series uses the artistic trope of the window in order to examine ideas of colour and geometry as well a metaphor for the relationship between our inner world of emotions and the outer world of senses. This work is part of Robert Motherwell's "Open" Series which focused on the theme of the window, began in 1967 entirely by a chance juxtaposition of a smaller canvas leaning against a larger one. Motherwell then outlined the silhouette of the smaller canvas and then turned it upside down creating the “U” shape that predominates the series. After his death in 1991, Clement Greenberg noted that “he was one of the greatest of the Abstract Expressionist painters.”


Dedalus Foundation
Collection of Corrie and Johnathan Sandelman

Literature:
Jack Flam, Katy Rogers and Tim Clifford, Eds., Robert Motherwell Paintings and Collages: A Catalogue
Raisonné, 1941-1991, Vol. 2: Paintings on Canvas and Panel, New Haven 2012, cat. no. P545, p. 291.
illustrated in colour.


Jules Olitski
God Wisdom, 1984
Acrylic on Canvas, 35.5 x 128.5 in. (90.4 x 326.3 cm)
Signed, titled and dated twice “84 Jules Olitski God Wisdom 84-06-2" verso

More info
x

Jules Olitski (Russian – American, 1922 – 2007) was a Colour Field painter once heralded by Clement Greenberg as “the greatest painter” alive. He is known for his works which focus on the interaction of the surface and colour. He was a pioneer for using an industrial spray gun to create paintings with layers of different colours, changing the hue in a subtle progression to create ethereal works. His works ranged from the early spray paintings in the 1960s as exemplified in such as in Marcus Flight, Facer, and Sunset to the thick impasto surfaces of the 1970s and beyond. Works such as God Wisdom or Mind’s Quote incorporates both, the spray over a lined surfaced of impasto.


M. Knoedler & Co., Inc., New York, March 2012


Jules Olitski
Marcus Flight, 1968
Acrylic on Canvas, 83 x 15.5 inches
Signature Verso

More info
x

Jules Olitski (Russian – American, 1922 – 2007) was a Colour Field painter once heralded by Clement Greenberg as “the greatest painter” alive. He is known for his works which focus on the interaction of the surface and colour. He was a pioneer for using an industrial spray gun to create paintings with layers of different colours, changing the hue in a subtle progression to create ethereal works. His works ranged from the early spray paintings in the 1960s as exemplified in such as in Marcus Flight, Facer, and Sunset to the thick impasto surfaces of the 1970s and beyond. Works such as God Wisdom or Mind’s Quote incorporates both, the spray over a lined surfaced of impasto.


From the collection of Aaron M. Milrad, Toronto, Ontario.
André Emmerich Gallery Inc., New York, New York.


Jules Olitski
Sunset, 1968
Acrylic on Canvas, 21 x 9.5 inches
Signed and Dated Verso

More info
x

Jules Olitski (Russian – American, 1922 – 2007) was a Colour Field painter once heralded by Clement Greenberg as “the greatest painter” alive. He is known for his works which focus on the interaction of the surface and colour. He was a pioneer for using an industrial spray gun to create paintings with layers of different colours, changing the hue in a subtle progression to create ethereal works. His works ranged from the early spray paintings in the 1960s as exemplified in such as in Marcus Flight, Facer, and Sunset to the thick impasto surfaces of the 1970s and beyond. Works such as God Wisdom or Mind’s Quote incorporates both, the spray over a lined surfaced of impasto.


Hackett Mill, San Francisco
Private Collection, Toronto, Ontario


Karel Appel
L'Oiseau en Chasse, 1961
Oil on Canvas, 51.1 x 76.75 inches
Signed and Dated Recto

More info
x

Karel Appel (Dutch, 1921 – 2006) was one the founders of the influential CoBrA group.While the movement was short-lived (1948 – 1951), the group’s working methods were a refutation to the existing art movements at the time. Instead, the CoBrA artists championed spontaneity and experimentation in the creation of works of art which would have a continued influence on Appel's art for the remainder of his career. Although Appel’s work was not immediately recognized in the Netherlands, when he moved to Paris in 1950 his work was praised by the influential critic and curator Michel Tapié, gaining him international success. It was also at this time that he saw the work Jean Dubuffet and he met the Parisian avant-garde artists Jean-Paul Riopelle and Sam Francis. Appel's paintings are known for their expressive colours and forms which alternate between abstraction and figuration. Inspired by folk and children’s art, L'Oiseau en Chasse (1961) is typical of Appel’s vocabulary of birds and beasts, using thick, expressive brushstrokes and paint directly from the tube to build up the canvas in a cacophony of line and colour.


Lucien Lefebvre-Foinet, Paris
Galerie Rive Driote, Paris
Sotheby's London Dec 1984, Lot 521
Kunsthandel Bies, Eindhoven
Private Collection
Christie's Amsterdam, 25 November 2003
Sotheby’s London, Contemporary Day Auction 8 October 2016, Lot 145
Acquired from the above by the present owner

Exhibitions:
Eindhoven, Van Abbe Museum; The Hague
Gemeentmuseum Den Gaag, Karel Appel, April -June 1961, n.p. no. 20 Illustrated
Amstelveen, Museum van der Togt, Van Cobra tot Heden, 1993


Kenneth Noland
Doors - Sea View, 1988
Acrylic on Canvas on Board, Plexiglass, 80.5 x 49 inches
Signed, Titled, Dated Verso "DOORS SEA VIEW Kenneth Noland 1988"

More info
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Kenneth Noland (American, 1924 -2010) was known for his paintings which examined the emotional effects of colour and geometric forms. Noland met Helen Frankenthaler and Clement Greenberg in 1953 which would have a profound effect on his art making. Using circles, chevrons, diamonds, shaped canvases throughout his career. The Doors – Sea View is part of Noland’s “Doors” series, a motif that incorporates aspects of the 1970s shaped canvases. These later works are known for their complex applications of clear, glass-like gels which were scraped and slid across a coloured underpainting. The plexiglass panels in the works act like drawing, defining the structure to the work as a whole.


Gallery One, Toronto, Ontario
Private Collection, Toronto, Ontario

Literature:
Karen Wilkin Kenneth Noland, Rizzoli New York, 1990, illustrated in full colour plate 86