BEN SHAHN (1898-1969)
BEN SHAHN (1898-1969)
BEN SHAHN (1898-1969)
BEN SHAHN (1898-1969)
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BEN SHAHN (1898-1969)

Tennis Court

Details
BEN SHAHN (1898-1969)
Tennis Court
signed 'Ben Shahn' (lower right)
tempera and pencil on paper laid down on paperboard
sheet, 8 x 20 ¾ in. (20.3 x 52.7 cm.);
overall, 12 x 22 in. (30.5 x 55.9 cm.)
Executed in 1948.
Provenance
The artist.
Seventeen Magazine, New York, commissioned from the above, 1948.
Downtown Gallery, New York.
Arthur Laurents, New York.
Estate of the above.
Roland Auctions, New York, 2 June 2012, lot 423, sold by the above.
Private collection, acquired from the above.
Sotheby's, New York, 22 September-4 October 2023, lot 653, sold by the above.
Acquired by the present owner from the above.
Literature
M.B. Paradis, "August Fifteenth," Seventeen, August 1948, pp. 114-15, illustrated.
C.P. Golden, A Medal for Ben, New York 1958, n.p.
D. Holden, "An Interview with Art Paul," American Artist, vol. XXXIX, no. 394, May 1975, p. 35.
M. Scotford, Cipe Pineles: A Life of Design, New York, 1999, p. 66, illustrated.
D.S. Raizman, A History of Modern Design, Upper Saddle River, New Jersey, 2004, p. 254.
Exhibited
New York, Museum of Modern Art, 28th Annual Exhibition of Advertising and Editorial Art of the Art Directors Club of New York, March 15-April 17, 1949, n.p., no. 191.
New York, Downtown Gallery, Ben Shahn: Exhibition of New Paintings and Drawings, October 25-November 12, 1949, n.p., no. 6.

Brought to you by

Quincie Dixon
Quincie Dixon Associate Specialist, Head of Sale

Lot Essay

The present work was commissioned for the August 1948 issue of Seventeen magazine by the publication's director, Cipe Pineles. Of the creation of Tennis Court, Pineles recalled: "I remember the first story he did. It concerned a 14-year-old boy, a keen tennis player, who is ashamed of his mother because she is very pregnant, and he is determined to keep this fact from his friends. To do this he keeps them from using the family tennis court, which up to the time of the pregnancy had been the center of social activity. I gave Ben a two week deadline. He could do anything he pleased, in any shape and any number of colors. There was only one restriction. The hero and his friends must be clearly recognizable as youngsters in their teens. Three days later the finished job came in and it was plenty clear. There was no hero. There were no friends to be seen. Instead, stretching across two pages in a long, thin picture, was the most deserted, clearest, biggest tennis court in a brilliant color, marked with the sharpest, neatest, traditional white lines. It was a breathtaking beautiful shock of a painting to go with that story. It was also a wonderful painting if you had never heard of the story." (C.P. Golden, A Medal for Ben, New York 1958, n.p.)

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