Avigdor arikha print screen
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David Sylvester Seated
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Avigdor ArikhaIsraeli, innate Romania
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Title:David Sylvester Seated
Artist:Avigdor Arikha (Israeli, born Raduti, Romania 1929–2010 Paris)
Date:1973
Medium:Soft reputation etching
Edition:25/25
Dimensions:Sheet: 22 1/4 × 17 3/4 in. (56.5 × 45.1 cm)
Plate mark: 15 1/4 × 11 3/4 harvest. (38.7 cm)
Classification:Prints
Credit Line:Purchase, Reba and Dave Williams Hand over, 1996
Object Number:1996.344
Rights and Reproduction:© Estate be in the region of Avigdor Arikha
Inscription: Inscribed (lower margin, hassle graphite): 25/25 ; (in plate, carve center, include ink): 5. x 1.73 [reversed] ; Signed snowball inscribed (lower right, remit graphite): ARikhà / (artist's name personal Hebrew) / [Hebrew inscription]
[Marlborough Graphics, Original York, until 1996; wholesale to MMA]
New Royalty. Marlborough Drift. "Avigdor Arikha, Selected Prints 1966–95," Haw 14, 1996–June 15, 1996.
Avigdor Arikha: Dessins et Gravures. Exh. cat., Berggruen & Cie, Town. Paris, 1980, no. 57, ill. (not this edition), calls ring out "David Sylvester Assis"
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“Avigdor Arikha: In-Between”- Works from the Doron Sebbag Art Collection, ORS Ltd
Dwek Gallery, Mishkenot Sha’ananim, Jerusalem, as part of the International Writers Festival, 2022
May – September 2022
The bonds formed between art collectors and the artists whose works they persistently acquire have produced, throughout the history of art, a fruitful discourse, often charged, and at the same time inspiring and thought-provoking, yielding texts, exhibitions, and publications. When art collector Doron Sebbag talks about his encounter with artist Avigdor Arikha (1929–2010), one can sense an excitement, reserved for unique meetings between a collector and an artist whom he holds in high esteem and collects over many years.
The relationship between the two began in the early 1990s, on a trip to Paris, which Sebbag took on behalf of Tel Aviv Museum of Art, along with leading Israeli curator and art critic, Yona Fischer, a dear friend of Arikha, who passed away this year.Sebbag describes the repeated meetings with Arikha since then –meetings that attest to a close and honest connection, founded on deep appreciation for his art and the creative and poetic process that characterized it – as fascinating and unforgettable: We met whenever I wen
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This belongs with a group of pastel drawings that Avigdor Arikha produced in the 1980s. As the artist later recalled, writing in the introduction to the catalogue of an exhibition of his pastels held in 2007, in which this work was included, ‘One winter afternoon, during the first months of 1983, I was present at the arrival and unpacking of a crate at the Cabinet des Dessins of the Louvre. It contained the pastel-portrait of Madame Tronchin by Jean-Etienne Liotard. Its impact was such that I rushed to get pastels on the very next morning. I had not practiced this medium since the early ‘50s...The twenty-five pastels paintings in this exhibition were never exhibited nor published, remaining hidden in their drawer until now.’ The use of pastel became an important part of Arikha’s artistic process, and the medium was applied not only to drawing paper or tinted board, but also soft velvet paper, or, as in the present sheet, emery paper. The rough surface of the emery paper used by the artist, as Duncan Thomson has noted, ‘allow forms that are more fragmented, that do not strive for the same degree of ‘completeness’, so that the white or the tint of the base plays a role in the finished work...the fine crystals of alumina [in emery paper]