Willem de Kooning, ‘Untitled #8’, Christie's

Willem de Kooning (1904-1997)

Untitled #8

incised with initials and number 'W de K. 3/6' (on the underside)

bronze with brown patina

8 1/2 x 6 1/2 x 3 in.(21.6 x 16.5 x 5 cm.)

Executed in 1969. This work is number three from an edition of six.

Signature: incised with initials and number 'W de K. 3/6' (on the underside)

Baltimore Museum of Art, Willem de Kooning: Paintings, Sculpture and Works on Paper, August-September 1972.

New York, Sidney Janis Gallery, An Exhibition by de Kooning Introducing His Sculpture and New Paintings, October-November 1972, n.p., no. 37 (another cast exhibited).

Minneapolis, Walker Art Center; Ottawa, National Gallery of Canada; Washington, D.C., The Phillips Collection; Buffalo, Albright-Knox Art Gallery; Houston, The Museum of Fine Arts; St. Louis, Washington University Gallery of Art, de Kooning: Drawings/Sculpture, March 1974-June 1975, n.p., no. 134 (another cast exhibited).

Amsterdam, Stedelijk Museum, Willem de Kooning: Beelden en Lithos; Wilhelm-Lehmbruck-Museum der Stadt Duisburg, de Kooning: Plastik - Grafik; Gevena, Cabinet des Estampes, Musée d'art et d'histoire, Willem de Kooning: Sculptures, Lithographies, Peintures; Grenoble, Musée de Peinture et de Sculpture, Willem de Kooning: Sculptures, Peintures, March 1976-September 1977 (another cast exhibited).

Edinburgh, Fruit Market Gallery; London, Serpentine Gallery, The Sculptures of de Kooning with Related Paintings, Drawings & Lithographs, October 1977-January 1978, n.p., no. 8 (another cast exhibited).

Pittsburgh, Museum of Art, Carnegie Institute, Willem de Kooning/Pittsburgh International Series, October-January 1980.

New York, Xavier Fourcade, Inc., Willem de Kooning: The Complete Sculpture, May-June 1983.

Cologne, Josef-Haubrich-Kunsthalle, Willem de Kooning: Skulpturen, September-October 1983, pp. 48-49 and 122, no. 8 (illustrated, another cast exhibited).

New York, Whitney Museum of American Art; Akademie der Künste, Berlin; Paris, Musee National d'Art Moderne, Centre de Georges Pomidou, Willem de Kooning: Drawings, Paintings, Sculpture, December 1983-September 1984, p. 251, no. 264 (illustrated, another cast exhibited).

Goslar, Das Mönchehaus Museum, Exhibition on the occasion of the presentation of the Kaiserring to Willem de Kooning, September-October, 1984.

New York, Matthew Marks Gallery, Willem de Kooning Sculpture, May-June 1996, p. 53, no. 8 (illustrated, another cast exhibited).

New York, Matthew Marks Gallery and Mitchell-Innes & Nash, Willem de Kooning: Drawings and Sculpture, October-December 1998, p. 117, pl. 51 (illustrated, another cast exhibited).

J. Cowart, De Kooning, 1969-78, Cedar Falls,1978, p. 13, fig. 2, (another cast illustrated).

K. Kipling "A Taste for Contemporary," Gulf Shore Life Naples, October 2005, n.p. (another cast illustrated in color),

J. Elderfield, De Kooning: A Retrospective, 2011, New York, Museum of Modern Art, exh. cat, p. 407, no. 155 (another cast illustrated in color).

Estate of the artist, New York

Private collection, New York

Anon. sale; Christie's New York, 12 May 2010, lot 240

Acquired from the above by the present owner

About Willem de Kooning

A first-generation Abstract Expressionist, Willem de Kooning is one of the most important artists of the 20th century. In 1950s New York, when painters like Jackson Pollock and Franz Kline were moving away from representational imagery toward pure abstraction, de Kooning maintained a commitment to the figurative tradition, developing a signature style that fused vivid color and aggressive paint handling with deconstructed images of the female form—a then-controversial body of works that has become known as his “Women” paintings. “Flesh was the reason oil paint was invented,” he famously said. Influenced by Arshile Gorky and Pablo Picasso, de Kooning was often thought to have blended Cubism, Expressionism, and Surrealism in his signature style, paving the way for generations of gestural figurative painters like Cecily Brown. Following his “Women” series, de Kooning pursued non-objective lyrical abstraction until his death in 1997.

Dutch, American, 1904-1997, Rotterdam, Netherlands, based in New York and East Hampton, New York