Christie's /May 13, 2014
€650,947.49 - €867,929.99
Artworks in Arcadja146
Some works of Isamu NoguchiExtracted between 146 works in the catalog of Arcadja
Auction: Sotheby's -Sep 24, 2014 - New YorkLot number: 151
Other WORKS AT AUCTION
Isamu Noguchi Foundation, New York The Pace Gallery, New York (acquired from the above in 1983) Private Collection (acquired from the above in 1983) The Pace Gallery, New York Acquired by the present owner from the above in 2003 Celebrated for his exceptional eye and aesthetic sophistication, Andrew S. Gordon amassed an eclectic collection that balances a sleek penchant for design with an acute appreciation for the fine arts. An independent architect, designer and artist, Mr. Gordon was recognized in New York, Florida, and California circles for his inimitable taste, meticulous visual judgment, playful spirit, and passion for creative discovery. The Andrew S. Gordon Collection is highly dynamic in range, demonstrating remarkable depth in the decorative arts, from an extensive assortment of beautifully crafted and extraordinarily elegant pieces of Georgian furniture to fine examples of the Chinese decorative arts. His sense of design was particularly evident in his New York apartment where he cleverly mixed modern furniture with an impressive collection of fine and rare pieces of English furniture by some of the best 18th and early 19th century cabinet-making firms such as Giles Grendey, Mayhew and Chippendale. PROPERTY FROM THE ESTATE OF ANDREW S. GORDON Isamu Noguchi MANNARI MANNARI incised with the artist's initials on the backside jasper stone with hot-dipped galvanized steel base Overall: 29 3/4 by 8 1/2 by 8 in. 75.6 by 21.6 by 20.3 cm. Executed in 1982. This work is in very good and sound condition overall. There are some extremely light surface abrasions visible under close inspection. There is evidence of light wear and handling to the steel base. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Other WORKS AT AUCTION
(Los Angeles 1904–1988) Little id, 1972, bronze with golden patina, polished high-grade steel, signed Isamu Noguchi, numbered 1/3, foundry stamp: Fonderia (Tesconi), Pietrasanta, height 30 cm, (PP) This work is registered in the catalogue raisonné (http://catalogue.noguchi.org) as no. 687D-1/3 and is available online. Photo certificate: Estate of Isamu Noguchi, New York, 18. VII. 91 Provenance: Fonderia Tesconi, Pietrasanta Private Collection, Italy Exhibition: Malcesine, Una collezione internazionale di piccole sculture del secondo Novecento, Castello Scaligero, 11 June -15 September 2005, exh. cat., page 61 with ill. Specialist: Mag. Patricia Pálffy
Auction: Christie's -May 14, 2014 - New YorkLot number: 230
Other WORKS AT AUCTION
Isamu Noguchi (1904-1989) Effigy cor-ten steel 72 x 18 x 10 in. (182.8 x 45.7 x 25.4 cm.) Executed in 1972. This work is from an edition of three. Property from a Private Collection, West Coast N. Grove and D. Botnick, The Sculpture of Isamu Noguchi, 1924-1979, New York and London, 1980, p. 132, no. 723B. London, Gimpel Fils Gallery and Zürich, Gimpel Hannover Gallery, Isamu Noguchi, September 1972 (another example illustrated).
Auction: Christie's -May 13, 2014 - New YorkLot number: 72
Other WORKS AT AUCTION
Isamu Noguchi (1904-1988) Mortality inscribed with signature, date and number 'Isamu Noguchi 3/6 61' (on the center element) bronze 74¾ x 19 5/8 x 17¾ in. (190 x 50 x 45 cm.) Conceived in 1959 and cast in 1963. This work is number three from an edition of six plus two artist's proofs. Cordier & Ekstrom Gallery, New York Gimpel Fils Gallery, London Private collection Anon. sale, Sotheby's, New York, 19 November 2004, lot 126 Acquired at the above sale by the present owner Property from a Private Collection, West Coast L. Campbell, "Reviews & Previews: Isamu Noguchi," ARTnews, Summer 1961, p. 11 (wood version illustrated). V. Raynor, "In the Galleries," Arts Magazine, September 1961, pp. 36-37. D. Ashton, "Noguchi," Arts & Architecture, June 1963, pp. 6-7 and 30 (another example illustrated). A. Michelson, "Noguchi: Notes on a Theater of the Real," Art International, December 1964, p. 24 (another example illustrated). I. Noguchi, Isamu Noguchi: A Sculptor's World, New York, 1968. D. Shirley, "Noguchi," Newsweek, 29 April 1968, p. 95. "Sculpture by Isamu Noguchi," Japan Architect, August 1973, p. 16. (another example illustrated). J. Love, "Noguchi's Vision Shakes up Young Japanese," ARTnews, September 1973, pp. 73-75 (another example illustrated). S. Hunter, Isamu Noguchi, New York, 1978, p. 123 (wood version illustrated). "Imaginary Landscapes," Museum News, March-April 1978, pp. 52-55 (another example illustrated). D. Botnick and N. Grove, The Sculpture of Isamu Noguchi, 1924-1979: A Catalogue, New York, 1980, n.p. (wood version illustrated). N. Grove, Isamu Noguchi: A Study of the Sculpture, New York, 1985, p. 231, fig. 107 (wood version illustrated). I. Noguchi, The Isamu Noguchi Garden Museum, New York, 1987, n.p., no. 6 (another example illustrated). B. Altshuler, Isamu Noguchi, Modern Masters Series, vol. 16, New York, 1994. Light and Shadow: Sculptural Resonance in Space: The Works of Isamu Noguchi from New York and Mure, exh. cat.,Sapporo Terebi Hôsô, 1998, pp. 86-88, no. 93 (wood version illustrated). I. Noguchi, Isamu Noguchi: A Sculptor's World, New York, 2004, n.p., pl. 93 (another example illustrated). Isamu Noguchi: Connecting the World Through Sculpture, exh. cat., Yokohama Museum of Art, 2006, n.p., no. 61 (another example illustrated). New York, Cordier & Warren Gallery, Noguchi: Weightlessness, May-June 1961 (another example exhibited). New York, Cordier & Ekstrom Gallery, Isamu Noguchi, April 1963, n.p., no. 4 (another example exhibited). London, Tate Gallery, Painting & Sculpture of a Decade, April-June 1964, p. 111, no. 104. Paris, Galerie Claude Bernard, Isamu Noguchi, June-July 1964, n.p., no. 5 (wood version exhibited and illustrated). Arnhem, 5e Internationale beeldententoonstelling Sonsbeek '66, May-September 1966, p. 71, no. 176 (another example exhibited and illustrated). New York, Whitney Museum of American Art, Isamu Noguchi, April-June 1968, p. 30, no. 27 (another example exhibited and illustrated). London, Gimpel Fils, Isamu Noguchi, July-August 1968, no. 19. Zurich, Gimpel & Hanover Galerie, Isamu Noguchi, October-November 1968, no. 6. University of Nebraska, Art Galleries, American Sculpture, September-November 1970, n.p., no. 120 (another example exhibited). Tokyo, Minami Gallery, Isamu Noguchi, May-June 1973, no. 14 (another example exhibited and illustrated). Tokyo, Minami Gallery, Minami '75: A selection of 20th Century Art, 1975, n.p. (another example exhibited and illustrated). Santa Barbara, University of California, 7+5: Sculptors in the 1950s, January-February 1976, p. 90, no. 52 (another example exhibited and illustrated). Minneapolis, Walker Art Center, Noguchi's Imaginary Landscapes, April-June 1978 (another example exhibited). Minneapolis, Walker Art Center, Three Sculptors: Noguchi, Oldenburg, Segal, July-September 1980, p. 17 (another example exhibited and illustrated). New York, Arnold Herstand Gallery, Isamu Noguchi: Bronze Sculpture, 1959 - 1962, October-December 1985, p. 13 (another example exhibited and illustrated). Los Angeles, Museum of Contemporary Art, Individuals: A Selected History of Contemporary Art, 1945-1986, December 1986-January 1988, p. 132 (another example exhibited and illustrated in color). New York, Pace Gallery, Isamu Noguchi: Bronze and Iron Sculpture, May-June 1988, no. 12 (another example exhibited and illustrated in color). Tokyo, National Museum of Modern Art, Isamu Noguchi Retrospective, March-May 1992, p. 128 (another example exhibited and illustrated). Kagawa, Marugame Genichiro-Inokuma Museum of Contemporary Art, Dear Heartfelt Friend, Isamu Noguchi, November 1992-March 1993 (another example exhibited). Museo de Arte Contemporneo de Monterrey, Noguchi and the Figure, February-May 1999, pp. 72 and 107, figs. 48 and 25 (another example exhibited and illustrated). Tokyo, Sogetsu Art Museum, Isamu Noguchi, November-December 2002 (another example exhibited). Sapporo, Moerenuma Park, Glass Pyramid Atrium, Isamu Noguchi Exhibition in the Glass Pyramid, July-August 2003 (another example exhibited). Wakefield, Yorkshire Sculpture Park, Isamu Noguchi at Yorkshire Sculpture Park, July 2008-May 2009 (another example exhibited).
Auction: Christie's -Nov 13, 2013 - New YorkLot number: 166
Other WORKS AT AUCTION
Lot Description Isamu Noguchi (1904-1989) Silly Girl signed 'Noguchi' (on the underside) marble on wood base 67 3/8 x 18 x 18 in. (94.9 x 45.7 x 45.7 in.) Executed in 1955-1958. This work is unique. Provenance Gift of Mr. and Mrs. J. Friedman to the present owner Pre-Lot Text PROPERTY SOLD BY THE ART INSTITUTE OF CHICAGO Literature N. Grove and D. Botnick, The Sculpture of Isamu Noguchi, 1924-1979, A Catalogue, New York, 1980, p. 72, no. 415 (illustrated). Exhibited New York, Stable Gallery, Isamu Noguchi, April-May 1959, no. 16. View Lot Notes > Silly Girl is comprised of a smoothly-finished, elliptical marble form and set atop a slender beam of wood. The sculpture is positioned at eye level, essentially life-size in stature and the geometric rounded forms engraved into the surface of the marble all contribute to the anthropomorphic quality that is characteristic of Noguchi's strongest work. Having spent two years in 1927-1929 apprenticing in the studio of Constantin Brancusi in Paris, the influence of the renowned 20th century sculptor on a young Noguchi was undeniable, employing different mediums in combination and fabricating his own complimentary bases, essential to the sculpture. However, Noguchi explained that "Brancusi used to say how lucky were the young people of the new generation such as myself who could look forward to uninhibited and true abstractionspure abstractions, or at least those geometrically derived, left me coldI craved a certain morphologic quality. I developed a deep interest at the time in cellular structure and collected books on paleontology, botany and zoology" (I. Noguchi, Noguchi: A Sculptor's World, New York, 1968, p. 18). The 1950s would serve as an incredibly fruitful period of travel and inspiration for the artist who was coming into his own artistic maturity, reaching new heights of prominence and interest from top collectors and museums around the world, pushing the bounds of his materials and responding to the enormous amounts of support from high-level public commissions. Around the year 1957, Noguchi began stopping in Greece to select blocks of Penteli marble (the same used to build the Parthenon) that would be pre-cut to approximating dimensions and then subsequently sent to the studio in New York. Noguchi produced fourteen of the Greek marble sculptures, including the present example, for the 1959 exhibition at Stable Gallery, including Woman with Child and Recurrent Bird and Integral, in the collection of the Whitney Museum of Art, New York. Noguchi writes that "the exhibition was in the nature of a homage to Brancusi, and recapitulated sculptural values I associated with him" (I. Noguchi, Noguchi: A Sculptor's World, New York, 1968, p. 36).