Mark Rothko, Signed (6 results)

] Ce cahier in-8 agrafé de 16 pages, complète pour sa diffusion en France, l'ouvrage de Mark Rothko, édité à New York avec un texte de Diane Waldman. E.O. Hors commerce. Très bel envoi autographe de Bernard Ceysson à Marcelin Pleynet sur le premier plat.

Hardcover. Condition: Very good condition. Reprint edition. 160 pages of text including an index. Hardcover binding with minor sunning to the spine and minor shelfwear. No dustjacket. Signed on the half title page with no further inscription. Mark Rothko contributed to the illustrations in this publication; from the Introduction "I am grateful to Mr. Markus Rothkowitz for assistance in the execution of the maps in this volume." Previous owner's name neatly in pencil on the front endpaper. The text is clean and unmarked. Reprint edition published in 1942. Size: Quarto (4to). Signed by Author(s). Book.

First Edition. Quarto. SIGNED and inscribed by Arnie Glimcher and Rothko's children, Kate Rothko Prizel and Christopher Rothko, to the book's publisher, Nicholas Callaway. A comprehensive monograph surveying Rothko's 11 exhibitions hosted by Pace Gallery from 1978 to 2017. Rothko is one of the most celebrated American artists from the interwar period and played a crucial role in defining the nature of abstract painting. An introductory essay and interview by Pace founder Arne Glimcher; with contributions by Bernice Rose, Irving Sandler, Brian O'Dohery, et al. Fine in burgundy cloth boards and in fine publisher's printed acetate jacket.

First Edition. Signed and inscribed by abstract expressionist, Theodoros Stamos, dated December 5, 1970, filling the entire half-title page with a decorative border drawn by Stamos, and reading: ÒFor Alice, with all my thanks and best wishes, Stamos, Dec. 5/70.Ó Stamos was one of the original group of abstract expressionist painters called the Irascibles, including Mark Rothko, Jackson Pollock, and Willem de Kooning. Rothko chose Stamos to be one of his executors. Stamos entered into a conspiracy to defraud the Rothko estate. He was subsequently found guilty in court and his career as an artist was ruined. An illustrated catalogue issued to accompany an exhibition of paintings by Mark Rothko from the Venice Biennale in collaboration with Marlborough Galleries of New York. Paperbound. With 27 tipped-in color plates. Very good copy with some edge wear and use and a dampstain to the top edge and outer corner, affecting a few of the beginning pages, but none of the interior plates. With the original acetate jacket that has some tears and shallow chips.

Second printing. Signed by the author James E.B. Breslin on the half-title. Illustrated. 700 pages. Near fine copy with a faint hint of shelf wear in a near fine bright dust jacket with minor handling. This is the first full-length biography of Mark Rothko, one of the greatest artists of the twentieth century, and richly explores his life, creative evolution, and relationships with his close friends and fellow artists Milton Avery, Adolph Gottlieb, Barnett Newman, and Clyfford Still.

No Binding. Condition: Near Fine. 1st Edition. Etching of one art legend, Mark Rothko, by another art legend and his friend and mentor, Milton Avery. ******** Etching with drypoint, on wove paper, signed and dated in pencil by Avery. Numbered 19/60(there was also an artist s proof copy), with wide margins. In a mid-century wooden frame. Tiny spots at the bottom right corner of the mat, otherwise excellent.***** Framed image: 8.5 x 7.75 in. (216 x 197 mm.) Mat: 14.25 x 13.5 in. (362 x 343 mm.) ****** An attractive example of a rare piece - I could only locate 4 examples at auction in the last 80 years. Otherwise, these are found at prominent institutions like the Smithsonian. Ex-William Kelly Simpson, eminent professor of Egyptology and Archaeology at Yale University. ******** From the 1930's onward, Avery had won the esteem of several important dealers, collectors and critics. Rothko, who had been decisively influenced by Avery's work, was one of his most devoted admirers, and there was already a younger generation of American painters deeply indebted to it. There was even a period in the 1940's when Avery was so famous that a New York critic - Maude Riley - spoke of his having lately become ''a sort of institution.'' (Kramer)****** Milton Avery s singularity of purpose and devotion to his personal aesthetic vision can be equaled by only a few 20th century artists. Working with total commitment to his ideas and with complete unconcern for movements or labels, Avery believed that an artist s first obligation was to be true to his art and its demands. His was an independent vision in which everything extraneous was removed and only the essential components were retained. Avery s remarkable color sense, his chromatic harmonies of striking subtlety and invention, paved the way for later generations of American colorists. Mark Rothko and Adolph Gottlieb are among the many artists who have acknowledged a profound debt to Avery and his work. (Moore) ******** Sally Avery [Milton Avery's wife]: The first time we met Mark Rothko I think was in either 1929 or 1930. He was a friend of Louis Kaufman, a musician, who came from Portland, Oregon, where Mark was brought up. Louis Kaufman was crazy about Milton's work, and he was always bringing people to see it. One day he said to us, I have an artist who came from Portland I'd like you to meet, and he brought Rothko over and Milton and he liked each other immediately. When we first met him, he was living with Louie Harris in an East side tenement with the toilet in the yard or somethingWhen we moved to 72nd Street, he got a place right across the street from us and we used to go back and forth. You know, he was at our house every night till one day he said, You have to come over to my place. I'm going to make the tea tonight. So we went over. It was just across the street. He worked there and lived there. He served us this tea and I said, Mark, this tea tastes very funny. What did you do with it? He looked over and said, Oh, my God, I made it in the same pot I cooked my glue. ******* Elaine de Kooning: ". Avery influenced Rothko. Rothko explained to me that Avery was the first person that Rothko knew who was a professional artist 24 hours a day. And he gave Rothko the idea that that was a possibility. But also Avery's attitude toward color - I mean, Rothko had much more to do with Avery. Of course, what Rothko had that Avery did not have was scale. And also Rothko freed the color from shapes. I mean, with Avery the color always inhabited shapes and, you know, logical divisions. So Avery was a very powerful influence on Rothko's life.***Please email us for better pricing.***. Signed by Illustrator(s).