Joan Mitchell, ‘Little Weeds I and II and Weeds III’, circa 1992, Sotheby's
Joan Mitchell, ‘Little Weeds I and II and Weeds III’, circa 1992, Sotheby's
Joan Mitchell, ‘Little Weeds I and II and Weeds III’, circa 1992, Sotheby's

Property from the Collection of Marion and Irving Apple

Signed in pencil, two also dated, the first numbered 2/30, the second inscribed 'A.P. VI', an artist's proof aside from the numbered edition of 30, the third numbered 4/10, each on wove paper, with the blindstamp of the printer and publisher, Tyler Graphics, Mount Kisco, New York, framed (3 prints).

first sheet: 575 by 421 mm 22 5/8 by 16 5/8 in
second and third overall: 236 by 540 mm 9 1/4 by 21 1/4 in

About Joan Mitchell

In 1950s New York, Joan Mitchell was a lively, argumentative member of the famed Cedar Bar crowd, alongside Franz Kline, Willem de Kooning, and other notable first- and second-generation Abstract Expressionist painters. Based on landscape imagery and flowers, her large-scale paintings investigate the potential of big, aggressive brushstrokes and vivid color to convey emotion. "I try to eliminate clichés, extraneous material," she once said. "I try to make it exact. My painting is not an allegory or a story. It is more like a poem." Mitchell, who moved to France in 1959, has had numerous museum exhibitions, and examples of her work hang in nearly all the important public collections of modern art.

American, 1925-1992, Chicago, Illinois, based in New York, New York