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Jackson Pollock

(Cody 1912 -  Springs 1956 ) Wikipedia® : Jackson Pollock
POLLOCK Jackson Abstract

888auctions
May 10, 2018
Find artworks, auction results, sale prices and pictures of Jackson Pollock at auctions worldwide.
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Artworks in Arcadja
201

Some works of Jackson Pollock

Extracted between 201 works in the catalog of Arcadja
Jackson Pollock - Abstract Theme Artwork

Jackson Pollock - Abstract Theme Artwork

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Lot number: 128
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Description:
Lot # : 128 - JACKSON POLLOCK US 1912-1956 OOC Abstract Oil on canvas, featuring abstract theme artwork. Signed and attr. Jackson Pollock (US, 1912-1956), on lower left margin. 20 x 17.7 in. (51 x 45 cm). Major Abstract Expressionist Jackson Pollock, dubbed "Jack the Dripper" by Time magazine in 1956, is best known for his large "action" or drip paintings of 1947–52, formed by pouring and manipulating liquid paint atop canvases set on the floor. A wholly original, rule-shattering figure in American art, Pollock inspired Frank Stella, Richard Serra, and the Color Field painters. PROVENANCE: Private European estate
Jackson Pollock - Mixed Media On Paper

Jackson Pollock - Mixed Media On Paper

Original
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Lot number: 114
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JACKSON POLLOCK US 1912-1956 Mixed Media on Paper Mixed media on paper. Signed and attr. Jackson Pollock (American, 1912-1956). 8 x 11.5 in. (20.3 x 29.2 cm). MajorAbstract ExpressionistJackson Pollock, dubbed "Jack the Dripper" byTimemagazine in 1956, is best known for his large "action" or drip paintings of 1947–52, formed by pouring and manipulating liquid paint atop canvases set on the floor. A wholly original, rule-shattering figure in American art, Pollock inspiredFrank Stella,Richard Serra, and theColor Field painters. Pollock's earlySurrealistworks of personal symbols and abstract figures show the influence ofJose Clemente Orozco, David Alfaro Siqueiros,Pablo Picasso,Paul Klee,Joan Miro, andMax Ernst, as well as his experiences with Jungian psychotherapy.
Jackson Pollock -  Untitled

Jackson Pollock - Untitled

Original 57th
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Gross Price
Lot number: 7
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JACKSON POLLOCK Untitled. Screenprint on Strathmore paper, 1951 (printed 1964). 420x570 mm; 16 1/2x22 1/2 inches, full margins. Numbered 38/50 in pencil, lower right. Authorized by Lee Pollock Kasner and with the Pollock Estate blind stamp, lower left. A superb impression of this very scarce print. Betty Parsons, whose gallery on East 57th Street in New York exhibited many of Pollock's works, organized his fifth solo show in 1951, Black Paintings. To coincide with the exhibit Pollock made screenprints of 6 of the paintings. This series of screenprints, following an intended edition of 25 signed and numbered by Pollock (the edition of 25 was likely never reached), was ultimately printed and published posthumously in an edition of 50 by the artist's estate. This screenprint was based on Pollock's Number 8 (Black Flowering), oil on canvas, 1951. O'Connor/Thaw 1092.
Jackson Pollock - Triad

Jackson Pollock - Triad

Original 1948
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Gross Price
Lot number: 36
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TRIAD Jackson Pollock 1912 - 1956 signed and dated48 oil and enamel on paper mounted on board 20 5/8 by 25 7/8 in. 52.4 by 65.7 cm. The artist Mary Wickware (acquired from the above) Mr. and Mrs. N. Richard Miller, Stockton, New Jersey Robert Elkon Gallery, New York (acquired from the above in January 1970) Mr. and Mrs. N. Richard Miller, Stockton, New Jersey (acquired from the above) Marlborough Gallery, New York Private Collection, Milan Mr. E.V. Thaw, New York B.C. Holland Gallery, Chicago Acquired by the present owner from the above in June 1986 Exhibited Philadelphia, Philadelphia Museum of Art,Philadelphia Collects 20th Century, October - November 1963, p. 28, illustrated Rome, Marlborough Galleria d'Arte,American Action Painting, April - May 1972 New York, Grey Art Gallery and Study Center,Tracking the Marvelous, 1981, p. 24, illustrated and illustrated on the cover New York, Acquavella Galleries, Inc.,XIX & XX Century: Master Drawings & Watercolors, April - May 1984, no. 31 New York, The Museum of Modern Art; and London, Tate Gallery,Jackson Pollock, November 1998 - June 1999, p. 254, no. 150, illustrated Chicago, AEL Space; Naples, Center for the Arts; Charleston, Sunrise Museum; Montgomery, Montgomery Museum of Fine Art; Syracuse, Everson Museum of Art; Lubbock, Museum of Texas Tech University; Annapolis, Mitchell Art Gallery, St. John's College; Ottuma, Indian Hills Community College; and St. Paul, Minnesota Museum of Art,New York School and Beyond: Paintings from the Art Enterprises, Limited Collection, January 2001 - February 2003, no. 15 Berlin,Deutsche Guggenheim; Venice,Peggy Guggenheim Collection; and New York, Solomon R. Guggenheim Museum,No Limits, Just Edges: Jackson Pollock Paintings on Paper,January2005 - September 2006, p. 94, no. 50, illustrated in color Boston, Mc Mullen Museum, Boston College,Pollock Matters, September - December 2007, p. 32, no. 85, illustrated Paris, Pinacothèque de Paris,Pollock and Shamanism, October 2008 - February 2009, no. 87 Chicago, National Museum of Mexican Art,Translating Revolution: U.S. Artists Interpret Mexican Muralists, January - August 2010 Flint, Flint Institute of Arts,Then and Now, May - August 2012 Literature Partisan Review 15, no. 9, September 1948, illustrated on the inside front cover Francis Valentine O'Connor and Eugene Victor Thaw, Eds.,Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings and Other Works, Volume 2: Paintings 1948-1955, New Haven and London, 1978, p. 19, no. 198, illustrated Serge Guilbaut,How New York Stole the Idea of Modern Art, Abstract Expressionism, Freedom, and the Cold War, Chicago, 1983, no. 20 Ellen G. Landau,Jackson Pollock, New York, 1989, p. 210, illustrated in color Michael Leja,Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s, New Haven and London, 1993, p. 297, no. 79, illustrated Patricia Failing, "Do the 'Matter Paintings' Matter?,"ARTNews, November 2007, p. 144, illustrated Catalogue Note Jackson Pollock\’s Triad from 1948 issignificantly recognized as a critical touchstone that bridges the gap between the artist's more Surrealist-inspired paintings from the early 1940s and the iconic drip paintings from later that decade. In the present work, Pollock reimagines the revolutionary pouring method he pioneered in 1947, dripping the paint with the same gestural energy, but within the confines of a template, which produces the entirely unique composition of figures built up from splashes of paint. Testament to its significance in the evolution of Pollock\’s artistic style, Triad resided in the collection of E. V. Thaw, the author of Pollock's catalogue raisonné, and has been included in numerous exhibitions in the world\’s most renowned museums, including the Solomon R. Guggenheim Museum of Art, New York, the Museum of Modern Art, New York, the Tate Gallery, London, and the Philadelphia Museum of Art, among others. In the present work, Pollock has inverted the traditional figure ground relationship, applying white paint to a black ground. Abstract in its calligraphic mesh, three merely discernible figures nevertheless emerge from what at first glance appears a tangle of white paint. The right hand figure could be one or two that are joined together; this shape is not as legible as the more anthropomorphic figure on the left, who could be interpreted as dashing off the edge of the painting. What is most striking about this painting, however, is how the figures, despite the frenzy of their composition, adhere to an invisible perimeter delineating their bodies. The gestural painting zig zags to build up form, yet the frenetic flicks and flings of paint stay within a circumscribing perimeter, the result of Pollock placing a stencil on the paper to control the flow of paint. As Michael Leja notes, \“Regular and irregular, erratic gestures are controlled enough to serve the production of distinct, legible figures. The constitution of figures from drawn and patterned marks is, consequently, the principal subject of this work, although the problem of relating figure to ground has not been abandoned. The absence of an outline bounding the figures keeps the separation between figure and ground from completeness; the black ground permeates the interior of the bodies, anchoring them and subverting their autonomy. Still, the fact that line in this picture works exclusively to constitute figures and not produce simultaneously an encompassing field marks another variation in Pollock\’s handling of figure- field relations.\” (Michael Leja, Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s, New Haven and London, 1993, p. 296) The implied stenciling evident in the clean edges of Triad\’s figures relates the present work to a series of collage experiments Pollock pursued in 1948, in which he cut out figurative forms from a ground of poured painting, collaging them atop new works, a unique process that allowed Pollock to negotiate figure-field relationships in two distinct iterations. The sense of a cut out or stencil is unavoidable in Triad, the white paint reaching to but not past the unseen edges of a template, commingling with the black ground. Triad also embodies the way in which Pollock conflated drawing and painting, freeing line to become painterly in addition to describing figures, a crowning achievement he had reached in his practice with the advent of the pouring method. Bernice Rose notes that what came to separate Pollock\’s painting and drawing, however superficially, was \“the degree to which line describes figures,\” a technique that is beautifully crystallized in the surface of Triad. (Bernice Rose, Jackson Pollock: Works on Paper, New York, 1969, p. 10) Pollock never distinguished between his drawings and paintings; rather, he valued both as direct and authentic methods of expressing his innermost nature, energy, and drive in his vital and iconic gesture.
Jackson Pollock - Abstract

Jackson Pollock - Abstract

Original
Estimate:

Price:

Lot number: 127
Other WORKS AT AUCTION
Description:
Abstract Oil on board. Signed and attr. Jackson Pollock (American, 1912-1956) on verso. 9.4 x 12 inch (24 x 30.5 cm). MajorAbstract ExpressionistJackson Pollock, dubbed "Jack the Dripper" byTimemagazine in 1956, is best known for his large "action" or drip paintings of 1947–52, formed by pouring and manipulating liquid paint atop canvases set on the floor. A wholly original, rule-shattering figure in American art, Pollock inspiredFrank Stella,Richard Serra, and theColor Field painters. Pollock's earlySurrealistworks of personal symbols and abstract figures show the influence ofJose Clemente Orozco, David Alfaro Siqueiros,Pablo Picasso,Paul Klee,Joan Miro, andMax Ernst, as well as his experiences with Jungian psychotherapy. PROVENANCE: Southern Ontario Estate
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