“I think a good dealer is also a collector.”
—Rosa EsmanRosa and Aaron Esman assembled an outstanding collection of Modern, Post-War, and Contemporary art over the course of their seventy-year marriage. The collection’s highlights mirror that of Rosa’s career as a gallerist and print publisher (which Aaron, a psychoanalyst, strongly supported), with interests in Modernism, Dada, Russian Constructivism, and American Pop Art taking center stage. Rosa got her start publishing artists’ print portfolios in the 1960s, including the New York Ten Portfolio, 1965, and Ten for Leo Castelli, 1967, which featured works by rising contemporary artists such as Andy Warhol, Roy Lichtenstein, and Robert Rauschenberg, and helped pioneer the field of artist’s editions and multiples. Her eponymous gallery exhibited in Manhattan for over twenty years, and she was a founding partner of Ubu Gallery, which is still in operation today.
When asked about her wide artistic tastes in 2009, Rosa emphasized her love of drawing, “the quintessential bit of the art,” which can be seen across the collection, regardless of genre.
The pair bonded over gallery visits when dating in the early 1950s. While Aaron already had begun collecting by then, the first work they purchased together was a drawing by Miró, early in their marriage. Rosa recalled: ‘sometimes we look at something, and I say, “Oh, isn’t that marvelous?”’ and Aaron would respond, ‘It’s for us.’
Founded on lifelong love, the Collection of Rosa and Aaron Esman gives a unique vision of the art movements of the 20th century that shaped New York’s art scene.
Rosa and Aaron Esman, Madrid, 1963 來源
紐約Nolan/Eckman畫廊（2002年購自上述來源）
紐約Rosa及Aaron Esman伉儷收藏
現藏者繼承自上述來源文學
Hubertus Butin 109
藝術家簡介
格哈特．里希特
German • 1932
Powerhouse painter Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter skates between unorthodoxy and realism, much to the delight of institutions and the market alike.
Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic 'Rambert Event' hosted by Phillips Berkeley Square in 2016.
Rosa及Aaron Esman伉儷收藏
13
《黑色，紅色，金色 III (B. 109)》
1999年作
合成樹脂油漆 玻璃
15 3/8 x 15 3/8 英吋 (39 x 39 公分)
款識：簽名、日期、編號 2/10（畫背）
尚有2版藝術家試作版，由慕尼黑Fred Jahn畫廊出版。
估價
$25,000 - 35,000
Editions@phillips.com
212 940 1220
限量版畫及紙本作品
紐約拍賣 2023年4月18至20日
