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Maxwell, Max Gimblett

New Zealand (1935 )
GIMBLETT Maxwell, Max Dionysus

International Art Centre
Jul 22, 2015
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Artworks in Arcadja
89

Some works of Maxwell, Max Gimblett

Extracted between 89 works in the catalog of Arcadja
Maxwell, Max Gimblett - The Bite Of The Golden Snake

Maxwell, Max Gimblett - The Bite Of The Golden Snake

Original 2011
Estimate:

Price: Not disclosed
Lot number: 25
Other WORKS AT AUCTION
Description:
Max Gimblett The Bite of the Golden Snake Gesso, acrylic & vinyl polymers, eposxy, oil size, lemon gold leaf, lcear acrylic overcoat on canvas 63.5 x 63.5 cm Signed, inscribed & dated 2011 verso Provenance: Private Collection, Northland Andy Warhol Museum, Pittsburgh, PA, USA, label affixed verso Exhibited: Word of God, Max Gimblett - The Sound of One Hand, September - November, 2011 The Andy Warhol Museum, Pittsburgh, PA, USA
Maxwell, Max Gimblett - Dionysus

Maxwell, Max Gimblett - Dionysus

Original 1989
Estimate:

Price: Not disclosed
Lot number: 11
Other WORKS AT AUCTION
Description:
11.

Max Gimblett b. 1935
-
Dionysus

Acrylic, polymer, pearlescent pigments, oil gilded white gold and shellac on canvas 152.5 x 152.5

Signed, inscribed & dated 1988-89
more info...
PROVENANCE:

Private Collection, Wellington Purchased from Page Blackie Gallery, 2005

ILLUSTRATED:

p. 74 Max Gimblett, Wynstan Curnow, John Yau, Craig Potton Publishing in association with Gow Langsford Gallery 2002

How was a particular painting made? Do we really want to know? Of course we do. To explain how a painting was painted seems to solve a mystery,. penetrate a secret, establish a cause for the work's tantalising effects. Explanation puts anxious viewers on more equal terms with the work, so it won't lord it over them so much; it enables us to evade its unseemly advances. Take Dionysos, 1988/89, for example. Is that the form of a goat I see? Once we have the painting's secret, we are satisfied that this is all we need to know. But there may be no satisfactory answer as to how it was done. It is not that the artist won't explain, but rather that he can't. He wasn't watching, or if he was, there was nothing he could or would do. He had faith. So I am going to tell you that having blocked out the four square elements on the quatrefoil, Gimblett began to prance around the stretcher which lay with its back on the floor, dripping ultramarine, Pollock-fashion, into pearlescent whites that he had previously poured, pooled and panned on and across its surface. What a potent, not to say stupefying procedure it turned out to be, for the paint gave off a vapour you could see as well as smell. Was that a genie he saw taking shape in the ether? For the next five to six hours the painting keep changing, moving further and further away from any readable relation to acts of its making. The painter had decided to intervene as little as possible; he became a bystander. Or a bysitter, now and then gently coaxing it along with the insertion here and there underneath the stretcher of a small cardboard wedge. The embodiment of a wild blue purpose was about to absorb the white firmament of his quatrefoil. The more closely he followed the transmutations, the more he was gripped by his abandonment. Of the painting? Of himself? Where, then, is Dionysos? What has become of him? These queries are reminders of the growing number of Gimblett's paintings whose surfaces are not gesturally produced. 'Gestures' are already not only marks made by the brush, registering the tactile; to stretch their meaning to cover spillage, gilding and polishing is to suppress not only the action of the materials themselves, but the significance of the variety of agencies such extensions give rise to.

Text: p. 38-39 Max Gimblett, Wynstan Curnow, John Yau, Craig Potton Publishing in association with Gow Langsford Gallery 2002
Maxwell, Max Gimblett - Transcending The Dust Of The World - After Shih T'ao!

Maxwell, Max Gimblett - Transcending The Dust Of The World - After Shih T'ao!

Original 2008
Estimate:

Price: Not disclosed
Lot number: 45
Other WORKS AT AUCTION
Description:
Lot 45

Max Gimblett

Transcending The Dust Of The World - After Shih T'ao!
gesso, acrylic, vinyl polymers, epoxy and Swiss gold leaf on canvas
signed © Max Gimblett, dated 2008 and inscribed "Transcending The Dust Of The World - After Shih-Tao!". Water Is Never Clumsy. Palladium - P5635 in brushpoint on stretcher verso
1775mm x 1775mm

$50,000 - $70,000
(Click image to see full size)
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Maxwell, Max Gimblett - Marriage

Maxwell, Max Gimblett - Marriage

Original
Estimate:

Price: Not disclosed
Lot number: 80
Other WORKS AT AUCTION
Description:
Lot 80

Max Gimblett

Marriage
water gilded silver and Swiss gold leaf on board, diptych
title inscribed, signed and dated 1995/97 verso; and inscribed water gilded silver/laquer and water gilded 23 3/4 4 'Swiss' gold verso
380mm x 760mm

$15,000 - $20,000
(Click image to see full size)
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Maxwell, Max Gimblett - Copper Christ

Maxwell, Max Gimblett - Copper Christ

Original
Estimate:

Price: Not disclosed
Lot number: 14
Other WORKS AT AUCTION
Description:
Lot 14

Max Gimblett

Copper Christ
gesso, metalic pigments and resin on canvas
signed © Max Gimblett, dated 1991/92 and inscribed "Copper Christ" X, New York/Los Angeles in ink verso
760mm x 760mm

$16,000 - $20,000
ILLUSTRATED: Curnow, Wystan & John Yau. Max Gimblett, Craig Potton Publishing in association with Gow Langsford Gallery, Auckland, 2002, p. 134.
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