◆ 9 PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Peter Doig Follow Rosedale signed, titled, inscribed and dated “”Rosedale” PETER DOIG LONDON 1991” on the reverse oil on canvas 78 1/2 x 94 1/4 in. (199.4 x 239.4 cm.) Painted in 1991.
Provenance The Artist Pearl Assurance, Peterborough Victoria Miro Gallery, London Private Collection, United States Acquired from the above by the present owner Exhibited London, Whitechapel Art Gallery, Whitechapel Artist Award: Peter Doig , August 2–September 22, 1991 (illustrated in exhibition brochure) Bremen, Gesellschaft für Aktuelle Kunst, Peter Doig Homely , June 22-August 25, 1996 Kunsthalle zu Kiel; Kunsthalle Nürnberg and London, Whitechapel Art Gallery, Peter Doig Blizzard Seventy-Seven , March 8 – August 16, 1998 Literature Gareth Jones "Weird places, Strange folk", frieze , issue 6, Sep-Oct 1992, p. 26 Peter Doig Blotter , exh. cat., Contemporary Fine Arts, Berlin, 1995, no. 2, pp. 24-25, 55 (illustrated) Robert Enright, "The Eye of the Painting: An Interview with Peter Doig", Border Crossings , issue 98, June 2006 Richard Shiff and Catherine Lampert (eds.), Peter Doig , New York, 2011, p. 33 (illustrated) No Foreign Lands , exh. cat., Scottish National Gallery of Art, Edinburgh, 2013, pp. 16-17 (illustrated) Peter Doig , exh. cat., Fondation Beyeler, Basel, 2014, fig. 6, p. 83 (illustrated) Video Surface Surveillance: Looking for a Way Into Peter Doig’s ‘Rosedale’ "Doig is able to incorporate an eerie feeling into the painting- it's as if the manor is being watched, or even approached by a wanderer from the woods. There's a tension you can feel from the surface like a still from a thriller." Francesco Bonami on Peter Doig's masterful 'Rosedale', 1991, on view now at 450 Park Avenue in advance of our 18 May 20th Century & Contemporary Art Evening Sale. Catalogue Essay An exceptional early work at auction for the first time, Peter Doig’s Rosedale , 1991, signals the emergence of a young master. Heralding the artist’s breakthrough moment after graduating from Chelsea College of Art and Design, Rosedale was painted for and shown in his celebrated solo exhibition at the Whitechapel Gallery, having won the prestigious Whitechapel Artist Prize. 26 years following his debut at the Whitechapel show, Doig received the Whitechapel Gallery Art Icon 2017 lifetime achievement award, distinguishing him as one of the most innovative and significant painters of his time. Taking a grand Rosedale manor in Toronto’s ravine as its subject, Rosedale ’s richly detailed surface is comprised of abstract gestures that coalesce to reveal a home through the static of snow and thicket. Doig described painting Rosedale , which he executed based on his own photographs, as “through the screens of nature”, painstakingly building up fragments of the house through the dense labyrinth of trees. Riffing on art historical and pop culture references ranging from Richter, Pollock, Bonnard, and Munch to record covers, vintage postcards, and Doig’s own archive of photographs and memories of his early experiences in Canada, Doig, through his visual play of impasto and glazes, conjures the cinematic quality of a vintage film reel and the nostalgic glow of memory. The year 1991 was particularly formative in Doig’s career: he was selected for the Barclays Young Artist Award at the Serpentine gallery and won the prestigious Whitechapel Artist Prize. Opening when Doig was only 32 years old, the Whitechapel show would serve as the catalyst for his career. With the exhilarating opportunity to exhibit in the upstairs gallery of the influential institution at the same time as Cindy Sherman's show on the main level, Doig painted a series of large scale paintings for his exhibition including Rosedale (1991), Iron Hill (1991), Young Bean Farmer (1991), and the Architect’s Home in the Ravine (1991). The artist recalled, “The year after I left Chelsea I was awarded The Whitechapel Artist Prize, so I got a show of my new work at the Whitechapel Gallery, upstairs. Cindy Sherman's show was on downstairs. I remember walking my paintings, which were still wet and in cheap decorator's plastic, between her incredible crates” (Peter Doig quoted in Parinaz Mogadassi, “Inte
◆ 9 PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Peter Doig Follow Rosedale signed, titled, inscribed and dated “”Rosedale” PETER DOIG LONDON 1991” on the reverse oil on canvas 78 1/2 x 94 1/4 in. (199.4 x 239.4 cm.) Painted in 1991.
Provenance The Artist Pearl Assurance, Peterborough Victoria Miro Gallery, London Private Collection, United States Acquired from the above by the present owner Exhibited London, Whitechapel Art Gallery, Whitechapel Artist Award: Peter Doig , August 2–September 22, 1991 (illustrated in exhibition brochure) Bremen, Gesellschaft für Aktuelle Kunst, Peter Doig Homely , June 22-August 25, 1996 Kunsthalle zu Kiel; Kunsthalle Nürnberg and London, Whitechapel Art Gallery, Peter Doig Blizzard Seventy-Seven , March 8 – August 16, 1998 Literature Gareth Jones "Weird places, Strange folk", frieze , issue 6, Sep-Oct 1992, p. 26 Peter Doig Blotter , exh. cat., Contemporary Fine Arts, Berlin, 1995, no. 2, pp. 24-25, 55 (illustrated) Robert Enright, "The Eye of the Painting: An Interview with Peter Doig", Border Crossings , issue 98, June 2006 Richard Shiff and Catherine Lampert (eds.), Peter Doig , New York, 2011, p. 33 (illustrated) No Foreign Lands , exh. cat., Scottish National Gallery of Art, Edinburgh, 2013, pp. 16-17 (illustrated) Peter Doig , exh. cat., Fondation Beyeler, Basel, 2014, fig. 6, p. 83 (illustrated) Video Surface Surveillance: Looking for a Way Into Peter Doig’s ‘Rosedale’ "Doig is able to incorporate an eerie feeling into the painting- it's as if the manor is being watched, or even approached by a wanderer from the woods. There's a tension you can feel from the surface like a still from a thriller." Francesco Bonami on Peter Doig's masterful 'Rosedale', 1991, on view now at 450 Park Avenue in advance of our 18 May 20th Century & Contemporary Art Evening Sale. Catalogue Essay An exceptional early work at auction for the first time, Peter Doig’s Rosedale , 1991, signals the emergence of a young master. Heralding the artist’s breakthrough moment after graduating from Chelsea College of Art and Design, Rosedale was painted for and shown in his celebrated solo exhibition at the Whitechapel Gallery, having won the prestigious Whitechapel Artist Prize. 26 years following his debut at the Whitechapel show, Doig received the Whitechapel Gallery Art Icon 2017 lifetime achievement award, distinguishing him as one of the most innovative and significant painters of his time. Taking a grand Rosedale manor in Toronto’s ravine as its subject, Rosedale ’s richly detailed surface is comprised of abstract gestures that coalesce to reveal a home through the static of snow and thicket. Doig described painting Rosedale , which he executed based on his own photographs, as “through the screens of nature”, painstakingly building up fragments of the house through the dense labyrinth of trees. Riffing on art historical and pop culture references ranging from Richter, Pollock, Bonnard, and Munch to record covers, vintage postcards, and Doig’s own archive of photographs and memories of his early experiences in Canada, Doig, through his visual play of impasto and glazes, conjures the cinematic quality of a vintage film reel and the nostalgic glow of memory. The year 1991 was particularly formative in Doig’s career: he was selected for the Barclays Young Artist Award at the Serpentine gallery and won the prestigious Whitechapel Artist Prize. Opening when Doig was only 32 years old, the Whitechapel show would serve as the catalyst for his career. With the exhilarating opportunity to exhibit in the upstairs gallery of the influential institution at the same time as Cindy Sherman's show on the main level, Doig painted a series of large scale paintings for his exhibition including Rosedale (1991), Iron Hill (1991), Young Bean Farmer (1991), and the Architect’s Home in the Ravine (1991). The artist recalled, “The year after I left Chelsea I was awarded The Whitechapel Artist Prize, so I got a show of my new work at the Whitechapel Gallery, upstairs. Cindy Sherman's show was on downstairs. I remember walking my paintings, which were still wet and in cheap decorator's plastic, between her incredible crates” (Peter Doig quoted in Parinaz Mogadassi, “Inte
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