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Carl Andre

(1935 ) Wikipedia® : Carl Andre
ANDRE Carl  Untitled

Swann Galleries /Nov 12, 2015
1,112.68 - 1,854.46
3,878.37

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Artworks in Arcadja
244

Some works of Carl Andre

Extracted between 244 works in the catalog of Arcadja
Carl Andre - Third Aluminum Quartile

Carl Andre - Third Aluminum Quartile

Original 1992
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Lot number: 685
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Description:
Carl Andre (American, b. 1935) Third Aluminum Quartile, 1992 Four aluminum rectangles 5" x 3" x 3/16" (each) 10" x 6" x 3/16" (together) Exhibition: Julian Pretto, New York, 1992 Provenance: Julian Pretto, New York Private Collection Note: Accompanied by Certificate of Authenticity A full condition report has yet to be completed for this lot. Please contact the auction house for more information. Please be advised that condition reports are often updated during preview. Please be sure to check for updated condition reports the day of the sale, as there may have been a change or addition.
Carl Andre - Thirteenth Copper Cardinal

Carl Andre - Thirteenth Copper Cardinal

Original 1974
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Gross Price
Lot number: 21
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Description:
Carl Andre (B. 1935) Thirteenth Copper Cardinal copper, in thirteen parts each: 1/4 x 19 5/8 x 19 5/8in. (0.5 x 50 x 50cm.) overall: 1/4 x 19 5/8 x 255 7/8in. (0.5 x 50 x 650cm.) Executed in 1974 Provenance Wide White Space, Antwerp. Acquired from the above by the present owner in 1974. Pre-Lot Text Property of an Important European Collection Literature A. Westwater, Carl Andre : sculpture 1958-1974, exh. cat., Bern, Kunsthalle Bern, 1975, p. 87, no. 1974-1 (installation view illustrated, p. 86). C. Andre, R. Sartorius and P. de Jonge, Carl Andre, exh. cat., The Hague, Haags Gemeentemuseum Den Haag, 1987, no. 1, p. 78. C. Andre and E. Meyer-Hermann, Carl Andre: Sculptor 1996, Krefeld at home, Wolfsburf at large, exh. cat., Krefeld, Museum Haus Lange, 1996, p. 188. Post-Lot Text This work is accompanied by a certificate of authenticity signed by the artist dated 1974.
Carl Andre - I. Al Σ 1 Ii. Al Σ 3

Carl Andre - I. Al Σ 1 Ii. Al Σ 3

Original 2006
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Gross Price
Lot number: 293
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Description:
Carl Andre B.1935 I. AL Σ 1 II. AL Σ 3 [TWO WORKS] i. aluminum ii. aluminum, in 3 parts i. 3/8 by 4 by 4 in. 1 by 10 by 10 cm. ii. Each: 3/8 by 4 by 4 in. 1 by 10 by 10 cm. Overall: 3/8 by 11 3/4 by 11 3/4 in. 1 by 30 by 30 cm. Executed in 2006, each work is accompanied by a certificate of authenticity. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Galeria Alfonso Artiaco, Naples Schönewald Fine Arts, Dusseldorf (acquired from the above in 2007) Private Collection, Germany Exhibited Naples, Palazzo delle Arti Napoli, Museum, Dedica–1986-2006 Twenty Years from Galleria Alfonso Artiaco, December 2006 - March 2007
Carl Andre -  Untitled

Carl Andre - Untitled

Original 1960-69
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Gross Price
Lot number: 96
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Description:
CARL ANDRE Two prints. Untitled (Equivalents), lithograph, 1960-69. 555x397 mm; 21 3/4x15 5/8 inches (sheet), full margins. Signed and numbered 38/50 in pen and black ink, lower margin * Untitled (Announcement Poster for "Periodic Table"), screenprint. 1967. 455x455 mm; 17 7/8x17 7/8 inches (sheet), full margins. Signed and numbered "14" in pen and black ink, lower right. Published for the same-titled exhibition at the Dwan Gallery, New York. Very good impressions.
Carl Andre - 81 Ace Zinc Square

Carl Andre - 81 Ace Zinc Square

Original 2007
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Lot number: 49
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Description:
Carl Andre B. 1935 81 ACE ZINC SQUARE zinc, in eighty-one parts each: 16 x 16 x 1/4 in. 40.6 x 40.6 x .6 cm. overall: 144 x 144 x 1/4 in. 365.7 x 365.7 x .6 cm. Executed in 2007, this work is accompanied by a certificate of authenticity signed by the artist and dated 2011. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Ace Gallery, Los Angeles Acquired by the present owner from the above in 2011 Exhibited Beverly Hills, Ace Gallery, zinc, October - February 2007 Catalogue Note As part of one of the artist’’s most iconic bodies of work, Carl Andre’’s exquisitely gleaming 81 Ace Zinc Square is a fundamentally discrete yet enduringly monumental metallic force. As an experiential sculpture this significant work summons the beholder to an arena that is both ancient and modern; Andre conjures the natural laws of geometry and numbers, materialized through the raw metals of the earth to create a masterpiece of Minimalism. Across a delicate yet persistently ordered linear format of a perfected square grid the artist perfectly articulates the principles of reduction, simplicity, repetition and clarity that underpin the revolutionary artistic movement of which he remains a firm pioneer. With its elegant utilization of raw, polished factory materials, the present work exemplifies the revolutionary achievements Andre has made in redefining the medium of sculpture. It was in the late 1960s that Andre produced his first metal grid works; a simplistic gesture which reconfigured our conceptions of sculpture in their radical placement across the gallery floor and in the invitation for viewers to walk over them. Manifesting themselves in lived space, they have a unique participatory dimension that has altered our perceptions of the function of sculpture within the art historical canon. In his choice of materials Andre refers to the periodic table, the fundamental metals and elements that make up all matter, elements which give life. Realized in 81 equal parts, arranged as 9 rows of 9 squares, 81 Ace Zinc Square continues this profound sculptural legacy, adhering to the strict laws of square numbers and expressing the proportional laws of mathematics that guide our comprehension of nature. Andre’’s rigidly organized floor-bound grids are aligned within a strain of historically important artists working with the principles of geometric abstraction, important figures such as Piet Mondrian and Kazimir Malevich. Whilst Andre came to be influenced by Minimalist sculptors, such as Donald Judd and Robert Morris, having started his career making sculpture in the studio of Frank Stella, the influence of the painter’’s line and concentric grid work is not to be overlooked. Andre described Stella's approach to painting: "He treated a painting as a work to be accomplished by a consistent rigorous application entirely across a surface of the canvas ... breaking down a form into elements and then combining them." (Exh. Cat. London, Whitechapel Art Gallery, Carl Andre, 1978, n.p.) This basic idea is a tenet of Andre's Minimal sculpture, most perfectly expounded across the brilliant surfaces of his flat, floor-based tile pieces such as 81 Ace Zinc Square. These materials and methods of construction can also be associated with the artist’’s years spent working on the Pennsylvania Railroad in the early 1960s, where identical units could conceivably be deconstructed and reassembled in different formats. This interest in the properties of industrial elements can also be linked to his wider political outlook and commitment to Marxism, which led him to participate in artists’’ strikes and other industrial actions in the late 1960s. Andre eschews decoration and craftsmanship, choosing to simply arrange the metal plates systematically with the repetitive labor of a factory worker on a production line. When interviewed in 1970 he claimed: “The forms of my work have never particularly interested me. What has been my search really is for a material, a particle of a material. It’’s finding a material or a unit of material like a brick of the right size and the right shade and density and so forth – from finding this particle, I would combine it with others to make a work." (the artist cited in James Meyer, ed., Cuts: Texts 1959–2004, Massachusetts, 2005, p.99). Andre’’s approach to sculpture is inherently additive in nature and is based upon multiplication. As evidenced perfectly in 81 Ace Zinc Sqaure, the artist considers sculpture as a revelation that is not enacted through cuts into a block of material or bound by agents such as nails or welds, but rather built up and assembled with units, beautifully standardized in form and measurement. In this he gracefully elevates industrial systems to new levels of refined beauty; a quiet revolution that has changed the course of art history. See More See Less
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