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PROPERTY FROM THE COLLECTION OF ILEANA SONNABEND AND THE ESTATE OF NINA CASTELLI SUNDELL
ROY LICHTENSTEIN (1923-1997)
Temple
細節
ROY LICHTENSTEIN (1923-1997)
Temple
offset lithograph in colors, on wove paper, 1964, signed and dated in pencil, numbered 76/300, published by Leo Castelli Gallery, New York, with full margins, in very good condition, framed
Image: 23 x 17 3/8 in. (584 x 441 mm.)
Sheet: 23 5/8 x 18 in. (600 x 457 mm.)
Temple
offset lithograph in colors, on wove paper, 1964, signed and dated in pencil, numbered 76/300, published by Leo Castelli Gallery, New York, with full margins, in very good condition, framed
Image: 23 x 17 3/8 in. (584 x 441 mm.)
Sheet: 23 5/8 x 18 in. (600 x 457 mm.)
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Corlett II.3
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Gallerist and patron Ileana Sonnabend stands as one of the most influential and provocative figures of the recent art historical canon. From her early childhood interests to her marriages and subsequent collaborations with Leo Castelli and Michael Sonnabend, her life revolved around championing art and artists—particularly works that challenged the status quo. The Castellis presided over the conversations and debates that shaped the art world in New York, eventually opening a gallery in the sitting room of their Manhattan residence in 1957. Ileana came to be known for her connoisseurial eye and artistic judgement, and the Castellis’ sphere of influence included such figures as Willem and Elaine de Kooning, Jackson Pollock, Lee Krasner, Franz Kline, Robert Rauschenberg, Harold Rosenberg and Sidney Janis.
In 1960, Ileana married Michael Sonnabend, an erudite scholar and writer, and opened Galerie Sonnabend in Paris. After setting the European cultural scene ablaze with their fearless shows of American Pop art, they returned to New York, opening the Sonnabend Gallery in the same building as Leo Castelli. Like so many prescient collectors before them, Ileana and Michael Sonnabend embraced the controversial and ‘difficult’ works now considered masterpieces of post-war and contemporary art. Encompassing major works of painting, sculpture, drawing and prints from a diverse range of masters, their collection was the natural outcome of a lifetime spent with artists.
Ileana Sonnabend and Leo Castelli’s daughter, Nina Castelli Sundell, inherited her parents’ passion for Contemporary art. Yet above and beyond their roles as gallerists and provocaters, Sundell was especially dedicated to bringing artists’ messages to new collectors, and one way in which she did this was through her championing of editioned works and prints. Through the New Gallery, which she opened in Cleveland in 1968 with Marjorie Talalay, and the publishing company Sonnabend Sundell Editions, she sought to democratize art and make it available to as wide an audience as possible. Sundell understood the importance and unique qualities of such works in encouraging a new generation of new collectors and invested a considerable amount of her time in supporting artists to develop this particular aspect of their careers.
In 1960, Ileana married Michael Sonnabend, an erudite scholar and writer, and opened Galerie Sonnabend in Paris. After setting the European cultural scene ablaze with their fearless shows of American Pop art, they returned to New York, opening the Sonnabend Gallery in the same building as Leo Castelli. Like so many prescient collectors before them, Ileana and Michael Sonnabend embraced the controversial and ‘difficult’ works now considered masterpieces of post-war and contemporary art. Encompassing major works of painting, sculpture, drawing and prints from a diverse range of masters, their collection was the natural outcome of a lifetime spent with artists.
Ileana Sonnabend and Leo Castelli’s daughter, Nina Castelli Sundell, inherited her parents’ passion for Contemporary art. Yet above and beyond their roles as gallerists and provocaters, Sundell was especially dedicated to bringing artists’ messages to new collectors, and one way in which she did this was through her championing of editioned works and prints. Through the New Gallery, which she opened in Cleveland in 1968 with Marjorie Talalay, and the publishing company Sonnabend Sundell Editions, she sought to democratize art and make it available to as wide an audience as possible. Sundell understood the importance and unique qualities of such works in encouraging a new generation of new collectors and invested a considerable amount of her time in supporting artists to develop this particular aspect of their careers.