Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Donald Judd

United States (1928 -  1994 ) Wikipedia® : Donald Judd
JUDD Donald Untitled (menziken 87-52)

Christie's /Feb 11, 2016
266,935.16 - 400,402.75
419,389.25

Find artworks, auction results, sale prices and pictures of Donald Judd at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Artworks in Arcadja
734

Some works of Donald Judd

Extracted between 734 works in the catalog of Arcadja
Donald Judd - Untitled, From: Ten From Leo Castelli

Donald Judd - Untitled, From: Ten From Leo Castelli

Original
Estimate:

Price:

Lot number: 214
Other WORKS AT AUCTION
Description:
Donald Judd (1928-1994) Untitled, from: Ten from Leo Castelli folded stainless steel multiple, 1967, signed and inscribed AP (on a paper label affixed to the base), an artist's proof aside from the edition of two hundred, published by Tanglewood Press, New York, a few soft scratches and traces of old adhesive, otherwise in good condition 510 x 610 x 67 mm. (overall) Literature Schellmann 1
Donald Judd - Desk Set (f-2, F-3)

Donald Judd - Desk Set (f-2, F-3)

Original
Estimate:

Price:

Gross Price
Lot number: 500
Other WORKS AT AUCTION
Description:
Donald Judd (1928-1994) Desk Set (F-2, F-3) stamped 'JUDD. 1989 F.82-3 DF. 4/10 COOPER/KATO I.K.' (on the underside of the desktop); stamped 'JUDD. 1989 F.82-2 DF. 4/10 COOPER/KATO I.K.' (on the underside of each chair) three elements--douglas fir desk: 30 1/8 x 48 x 33 in. (76.5 x 121.9 x 83.8 cm.) chairs, each: 30 x 15 x 15 in. (76.2 x 38.1 x 38.1 cm.)
Donald Judd - Untitled

Donald Judd - Untitled

Original 1993
Estimate:
Starting price:

Price:

Gross Price
Lot number: 36
Other WORKS AT AUCTION
Description:
Description: DONALD JUDD - Untitled, 1993 Dimensions: all S. 23½ x 31 3/8 in. (59.7 x 79.6 cm.) Literature: all with the Judd Estate inkstamp and numbered 10/25 in pencil on the reverse of the sheet, also numbered in black marker on the reverse of the frames (there were also 10 artist's proofs), published by Edition Schellmann, Cologne and New York. Medium: The complete set of four woodcuts printed in black, orange, yellow and ultramarine blue, on Japanese paper, the full sheets, each with an oil paint stripe on the glass of the original galvanized iron frames,
Donald Judd - Untitled (menziken 87-52)

Donald Judd - Untitled (menziken 87-52)

Original
Estimate:

Price:

Gross Price
Lot number: 8
Other WORKS AT AUCTION
Description:
Lot Description Donald Judd (1928-1994) Untitled (Menziken 87-52) stamped 'DONALD JUDD 87-52 ALUMINIUM AG MENZIKEN' (on the reverse) anodized aluminium and yellow acrylic sheet 10 x 40 x 10in. (25.5 x 101.6 x 25.5cm.) Executed in 1987 Special Notice On occasion, Christie's has a direct financial interest in lots consigned for sale which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. This is such a lot. This indicates both in cases where Christie's holds the financial interest on its own, and in cases where Christie's has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. On occasion, Christie’’’’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Christie’’’’s may choose to assume this financial risk on its own or may contract with a third party for such third party to assume all or part of this financial risk. When a third party agrees to finance all or part of Christie’’’’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk out of Christie’’’’s revenues from the sale, whether or not the third party is a successful bidder. The third party may bid for the lot and may or may not have knowledge of the reserves. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Christie’’’’s guarantee of a minimum price for this lot has been fully financed through third parties Provenance Paula Cooper Gallery, New York. Galerie 57, Madrid. Pre-Lot Text CONSTRUCTING MINIMALISM: WORKS FROM THE COLLECTION OF MARC AND FRÉDÉRIQUE CORBIAU Exhibited Madrid, Galerie 57, Carl Andre, Sol LeWitt, Donald Judd, 1988. View Lot Notes >
Donald Judd - Untitled 87-12

Donald Judd - Untitled 87-12

Original 1987
Estimate:

Price:

Gross Price
Lot number: 119
Other WORKS AT AUCTION
Description:
Donald Judd 1928 - 1994 UNTITLED 87-12 stamped DON JUDD 87-12 STUDER AG on the reverse enamelled aluminium 30 by 60 by 30cm.; 11 3/4 by 23 5/8 by 11 3/4 in. Executed in 1987. Provenance Annemarie Verna Galerie, Zurich Acquired from the above by the present owner in 1996 Catalogue Note Executed with exceptional precision and utter smoothness, Untitled 87-12 is an iconic work that reflects the essence of Donald Judd’’’’s art theoretical beliefs, first summarised in his seminal essay Specific Objects from 1965. In one of the most significant and influential pieces written about art in the 1960s, Judd identified the new art object as “neither painting nor sculpture” but declared that “the use of three dimensions is an obvious alternative. It opens to anything” (Donald Judd, ‘Specific Objects’’’’, in: Charles Harrison and Paul Wood, Eds., Art in Theory 1900 – 2000: An Anthology of Changing Ideas, Oxford 2003, p. 824). His subsequent inquiry into spatial concepts through three-dimensional forms and materials resulted in a radically innovative sculptural practice that postulated the primacy of space, material, and colour as the principal constituents of the visual. Projected from a wall as a rectangular block with four frontal and two side openings, Untitled 87-12 embraces the physical movement around the work to spur not only a visual sensation but also a haptic one. From afar, Untitled 87-12 resembles a four-part colour chart painting; at closer view the work appears as a sculptural amalgamation of symmetrically arranged panels while the use of a common material such as steel even allows a more literal reading of the work as utility object such as a book shelf. In the 1970s, Judd began to use industrial materials such as steel, copper, plexiglass and aluminium to create the precise forms for his sculptures and eliminate any traces of the artist’’’’s hand that could potentially interfere with the viewer’’’’s experience. By creating powerful material objects that stand in perpetual dialogue with their surrounding space, Judd’’’’s sculptures reject any definite interpretations as they embrace the openness of spatial relations, which is further enhanced by his incorporation of light and colour. Rather than representing a gateway into illusionism, Judd’’’’s colours of warm brown, burnt yellow, indigo blue and asphalt grey are an integral part of the present work’’’’s form. The industrial gloss of these aluminium colour surfaces and the occasional appearance of shadows along the object’’’’s internal parts - both of which depend on the viewer’’’’s specific positioning - present Untitled 87-12 as a phenomenology of colour. It is in these works from the 1980s that Judd succeeded to integrate colour in a greater variety and complexity than ever before, establishing him as a “Master of Colour” as dubbed by art historian Rudi Fuchs in his eponymous essay on the artist (Rudi Fuchs, ‘Master of Colour’’’’, in: Exh. Cat., Cologne, Galerie Gmurzynska, Donald Judd. The Moscow Installation, 1994, p. 11). The sculpture’’’’s intrinsic features are straightforward as well as transparent, and this formal simplicity has potential to embrace multiple semantic readings. Musing on curator Gen Umezu’’’’s reflections on the artist, Judd ‘kept making works in which everything seems so clear and yet, or perhaps consequently, they remain nothing but a mystery’’’’ (Gen Umezu, ‘The Purification of Experiences – On the Art of Donald Judd’’’’, in: Exh. Cat., Saitama, The Museum of Modern Art (and travelling), Donald Judd 1960-1991, 1999, p. 86).
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr