Authentic Joan Mitchell Drawing, Framed, Very Rare




Item History & Price

Information:
Reference Number: Avaluer:482150Size: Small (up to 12in.)
Medium: Pencil, GraphiteRegion of Origin: US
Year: 1949-51Artist: Joan Mitchell
Features: FramedListed By: Dealer or Reseller
Originality: OriginalQuantity Type: Single-Piece Work
Original Description:
Authentic Original Joan Mitchell Drawing, Framed, Very RarePurchased at Frances Nauman Gallery, NYC in 2005 at Sketchbook 1949-51 Show.Sketch is a page from a sketch book that's dated from 1949-51. Drawing is significant as it was done early in her career, and she destroyed much of her early work. This is a quick figure drawing: I was told by gallery she had given sketchbook to a friend, and many years after her death, he decided to sell it. This is one of 60 drawings from the show.&nb...sp;
Joan Mitchell is enjoying a huge resurgence in popularity. This is a huge opportunity. 
Professionally framed with solid oak frame, Frances Nauman Gallery sticker on back. 
Priced for immediate sale. Price is 50% less than I paid for this originally in 2005, and Joan Mitchell is very hot these days and few original pieces are on the market. 
Here is a review of the show from the New York Times: https://www.nytimes.com/2005/06/17/arts/art-in-review-joan-mitchell.html
Here is excerpt from the review:
"Francis M. Naumann is exhibiting 60 pages from a single sketchbook dating from 1949 through 1951. These eventful years were marked by personal changes in her life, including a marriage to the Grove Press founder Barney Rosset and the beginning of an affair with the painter Michael Goldberg.More important, Mitchell was moving between New York and Paris, on the one hand consolidating her connection to European modernism, particularly to Cézanne and early Mondrian, and on the other, absorbing the spirit of the New York painters she felt closest to, Willem de Kooning and Arshile Gorky.The sketchbook starts with straightforward figure drawings: an image of straphangers on a subway, New York City street portraits of Socialist Realist solidity. It moves through structural experiments learned from Cubism, and concludes with what could be landscapes dissolving into abstract thickets of lines. Some later pages are filled with jagged scribbles, as if Mitchell were trying certain automatic techniques finally to loosen the attachment to figuration and let her hand and eye go somewhere else."



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