Brice Marden

four screenprints, 1983, each signed in pencil, dated and inscribed 'I...PP 1/2', a printer's proof aside from the numbered edition of 32 with 5 artist's proofs, on Mino Kozo Kizuki paper, with the blindstamp of the printer and publisher Simca Artists, framed  (4 prints)

Hallmark Fine Art Collection

Lewison, Jeremy. Brice Marden Prints 1961 – 1991, A Catalogue Raisonné. London: Tate Gallery Publications, 1992, pl. 38

The prints are in good condition, the full sheets. '2' with a slight ripple in the top corner of the sheet. '4' is unevenly printed on right side of sheet.Framed size: 104.3 x 80.5 cm; 41 x 31 3/4 in.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

“The rectangle is a great human invention.” Brice Marden, 1978

In the 1960s and 1970s, Brice Marden established his artistic career with his matte, monochromatic paintings, often with multiple panels. As a painter and printmaker, Marden made significant contributions to the Minimalist aesthetic and achieved a balance between emotional intensity and formal simplicity in his works.

This print portfolio is dated in 1983, the same year that Brice Marden visited Asia for the first time. The gestural brushstrokes of the rectangular forms allude to the ink-wash effects of Asian painting. It is well-acknowledged that the grid structure of the calligraphy tradition inspired a dramatic shift in his style that resulted in subsequent decades of more gestural compositions.

An edition of these prints is held in the permanent collection of the Museum of Modern Art, New York, and catalogued as Object No. 621.1983.1-4.