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"It was amazing, this whole dance he [Basquiat] did with the pencil." —Fab 5 Freddy
Remaining in the same private collection for 36 years, Untitled (Geese+), 1984, is an important work by Jean-Michel Basquiat that served as a source of inspiration for such masterpieces as the diptych MP, 1984-1985, Estate of Jean-Michel Basquiat, and the portrait MP, 1984. Exemplifying Basquiat’s extraordinary sense of composition, this drawing presents a striking ode to ancient Egypt through the lens of the artist’s distinct vernacular. The red-breasted goose of the famous “Meidum Geese” painting from the tomb of Nefermaat and Itet is here distilled into crisply drawn lines, expertly activating the space above a vignette featuring two figures, one of which is embellished with Basquiat’s trademark crown motif, in a scene of offering or harvest.
Untitled (Geese+) not only demonstrates Basquiat’s remarkable draftsmanship, it notably provides a fascinating point of departure to explore his pioneering use of Xerox copies as an integral aspect of his artistic practice–an unprecedented strategy of self-appropriation and reproduction that places Basquiat firmly within the annals of conceptual art, and positions him as a pioneer of the pre-digital age.
"I get my facts from books, stuff on atomizers, the blues, ethyl alcohol, geese in Egyptian style." —Jean-Michel Basquiat Created at the apex off Basquiat’s career, Untitled (Geese+) speaks of the central role that drawing played in Basquiat’s practice. A voracious autodidact, Basquiat had taught himself to draw from early childhood and continued to pursue his near manic obsession with the act of drawing throughout adulthood. While Basquiat drew inspiration of a broad range of sources–including television cartoons, comic books, the anatomical textbook Gray’s Anatomy–the present work speaks to the artist’s particular fascination with ancient history and the art and artifacts he encountered in New York museums.
The period in which Basquiat created Untitled (Geese+) was marked by the artist’s increasing interest in African spiritualism and history, sparked in part by the 1983 publication of Robert Farris Thompson’s new volume Flash of the Spirit: African & Afro-American Art & Philosophy. As Basquiat stated in conversation with Thompson, he considered his visual and verbal citations as “facts:” “I get my facts from books, stuff on atomizers, the blues, ethyl alcohol, geese in Egyptian style. I get my background from studying books. I put what I like from them in my paintings. I don’t take credit for my facts. The facts exist without me.”i
Facsimile of the painting on the inner back side of the sarcophagus of Aashyt, ca. 2051–2030 B.C. The Metropolitan Museum of Art, New York. In Untitled (Geese+), Basquiat references the “Meidum Geese”, the early Dynasty painting discovered in the tomb of Nefermaat and Itet the artist would have been familiar with through Charles K. Wilkinson’s famous facsimile at the Metropolitan Museum of Art–one of many copies held by the museum that were created during expeditions to Egypt. The vast collection certainly also served as a model for the constellations of figures in the lower half of Untitled (Geese+), into which Basquiat has introduced his own trademark symbol of the crown. Basquiat would often exploit the creative potential of free association while drawing to the sound of music or television in the background; here, the stuttering incantation of “Gg” inserts a sense of immediacy, connecting back to the “GEESE” that captions the upper drawing.
Basquiat’s Xerox paintings
The central motifs in Untitled (Geese+) feature in many of Basquiat’s paintings from the time, including the portrait of his friend Michael Patterson, MP, 1984, but perhaps most prominently in MP, 1984-1985, a towering diptych composed almost entirely in Xerox copies veiled in places with dynamic swathes of paint. Exuding an imposing presence, the diptych is evocative of a wall teeming with the vernacular of urban life such as advertisements and graffiti–in this case Basquiat’s very own repository of text and image. While integrating fragments from other drawings of the time, Basquiat notably cites Untitled (Geese+) in an ecstatic staccato of reproduction–the crowned male figure, featured five times, marches across the right canvas, with the female figure, goose and row of leaves are interspersed in fragments to create a rich tapestry.
Jean-Michel Basquiat, MP, 1984-1985. Estate of Jean-Michel Basquiat. Artwork © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York At the same time as MP brilliantly actualizes the ode to ancient Egyptian tomb painting as put forth by Untitled (Geese+), it also points back to Basquiat’s own beginnings as visual artist and poet in the 1970s when he emblazoned the abandoned walls of Downtown Manhattan with his unique blend of enigmatic symbols, icons and aphorisms under his pseudonym of SAMO. This was also around the time that Basquiat first started employing the Xerox photocopier into his practice; in 1979 he and Jennifer Stein began creating photocopies of their small collages, mounting and selling them as art postcards on the streets. One of these postcards was notably the very work that Basquiat sold to Warhol in what has become a legendary anecdote of their first meeting that year.
While Basquiat in the succeeding years turned his focus to painting on found materials, paper and canvas, he returned to the Xerox as in 1982 with his remarkable Untitled (One Eyed Man or Xerox Face). Marking the first time a sheet of Xerox collage acted as the compositional center point for a painting, this work represented the start of Basquiat’ increasing interest in collage–which would soon become a defining element of his practice, as evidenced in such important paintings as Grillo, 1984, Fondation Louis Vuitton, Paris, Wicker, 1984, The Broad Museum, Los Angeles, or King of the Zulus, 1985-1985, Musée d'Art Contemporain, Marseille.
"I’d been sort of living off this pile of drawing from last year, sticking them on paintings." —Jean-Michel BasquiatCut, Copy & Paste
The embrace of Xerox machine enabled Basquiat to more radically push the strategies of duplication and citation forward, which he had hitherto explored in the form of repeated words, phrases and motifs throughout his paintings and drawings. Radical, experimental and innovative, Basquiat turned to the Xerox photocopier as the means to reproduce his own motifs ad infinitum. The process of photocopying eventually became so integral to his practice that Basquiat acquired his own machine for his studio, which was not a small investment at the time. Duplicating drawings such as Untitled (Geese+), Basquiat would then assemble the cut and ripped photocopies on canvas or wood supports, integrating them into the composition visually, or overlaying them with paint, text and symbols to create multi-layered palimpsests.
Basquiat’s Xerox works embody an unprecedented level of experimentation and dexterity; they equally draw upon the cut-up techniques of such Beat Generation writers as William S. Burroughs, as well as art historical precedents for collage ranging from the Dadaist to such specific models as Willem de Kooning’s Woman, circa 1950, Metropolitan Museum of Art, New York, in which the artist collaged the mouth from a cigarette advertisement onto the face of his figure. Basquiat’s Xerox works also more obliquely further the strategies of reproduction encompassed in the silkscreened works of Robert Rauschenberg and Andy Warhol, powerfully conflating notions of high and low art. As Dieter Buchhart crucially observed, the deluge of image and text in these works seems to presage the copy-paste sampling techniques of the Internet generation and position the artist as a pioneer of the pre-digital age.
i Jean-Michel Basquiat, quoted in Robert Farris Thompson, “Activating Heaven: The Incantatory Art of Jean-Michel Basquiat,” in Jean-Michel Basquiat, exh. cat., Mary Boone-Michael Werner Gallery, New York, 1985, n.pProvenance
Gifted by the artist to the present owner in 1984
Exhibited
New York, Nahmad Contemporary, Jean-Michel Basquiat, Xerox, March 12 - May 31, 2019, p. 165 (illustrated, p. 164)
Literature
"In Season", American Fine Art Magazine, November/December 2018, issue 42, p. 112 (illustrated, p. 114)
Artist Biography
Jean-Michel Basquiat
American • 1960 - 1988
One of the most famous American artists of all time, Jean-Michel Basquiat first gained notoriety as a subversive graffiti-artist and street poet in the late 1970s. Operating under the pseudonym SAMO, he emblazoned the abandoned walls of the city with his unique blend of enigmatic symbols, icons and aphorisms. A voracious autodidact, by 1980, at 22-years of age, Basquiat began to direct his extraordinary talent towards painting and drawing. His powerful works brilliantly captured the zeitgeist of the 1980s New York underground scene and catapulted Basquiat on a dizzying meteoric ascent to international stardom that would only be put to a halt by his untimely death in 1988.
Basquiat's iconoclastic oeuvre revolves around the human figure. Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African-American and Aztec cultural histories and a broad range of art historical sources.
Ο◆165
Untitled (Geese+)
signed, dedicated and dated "To KIM Jean-Michel Basquiat 1984." on the reverse
oilstick and charcoal on paper
41 1/2 x 29 3/4 in. (105.4 x 75.7 cm)
Executed in 1984.
Estimate
$300,000 - 400,000
Sold for $302,400
John McCord
Head of Day Sale, Morning Session
New York
+1 212 940 1261
20th c. and Contemporary Art Day Sale - Morning Session
New York 8 December 2020
101
Bill Traylor
Untitled (Black and Brown Horse)
Estimate $40,000 - 60,000
Sold for $55,440
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102
Jacob Lawrence
Street Scene
Estimate $40,000 - 60,000
Sold for $69,300
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103
Milton Avery
Landscape
Estimate $60,000 - 80,000
Sold for $81,900
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104
Hans Hofmann
Provincetown Blue Sea
Estimate $50,000 - 70,000
Sold for $105,840
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105
Vivian Springford
Untitled (VSF327)
Estimate $50,000 - 70,000
Sold for $81,900
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106
Helen Frankenthaler
Thanksgiving Day Series (#13)
Estimate $25,000 - 35,000
Sold for $27,720
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107
Beauford Delaney
Street Scene
Estimate $120,000 - 180,000
Sold for $478,800
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108
Matthew Wong
A Dream
Estimate $150,000 - 200,000
Sold for $864,900
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109
Alexander Calder
Untitled
Estimate $60,000 - 80,000
Sold for $302,400
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110
Alexander Calder
Untitled
Estimate $60,000 - 80,000
Sold for $176,400
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111
Alexander Calder
Light Fixture
Estimate $40,000 - 60,000
Sold for $37,800
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112
Alexander Calder
Untitled
Estimate $350,000 - 500,000
Sold for $315,000
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113
Alexander Calder
Fly choker
Estimate $70,000 - 100,000
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114
Alexander Calder
Tray
Estimate $25,000 - 35,000
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115
Alexander Calder
Lion Cage
Estimate $20,000 - 30,000
Sold for $45,360
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116
Alexander Calder
Untitled
Estimate $18,000 - 25,000
Sold for $52,920
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117
Alexander Calder
Aerialist
Estimate $400,000 - 600,000
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118
Alexander Calder
The Crooked Stick and the Straight Stick
Estimate $20,000 - 30,000
Sold for $28,980
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119
Joan Miró
Tête
Estimate $60,000 - 80,000
Sold for $60,480
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120
Joan Miró
Figures
Estimate $250,000 - 350,000
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121
Robert Rauschenberg
Untitled
Estimate $180,000 - 250,000
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122
Robert Rauschenberg
Untitled (de Gaulle)
Estimate $250,000 - 350,000
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123
Robert Rauschenberg
Untitled
Estimate $12,000 - 18,000
Sold for $37,800
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124
Conrad Marca-Relli
The Expendible
Estimate $100,000 - 150,000
Sold for $277,200
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125
Andy Warhol
Puma Invader
Estimate $40,000 - 60,000
Sold for $138,600
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126
Andy Warhol
Map of Eastern U.S.S.R. Missile Bases (positive)
Estimate $40,000 - 60,000
Sold for $88,200
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127
Andy Warhol
Map of Eastern U.S.S.R. Missile Bases (negative)
Estimate $40,000 - 60,000
Sold for $85,680
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128
Arthur Segal
Stillleben mit Flasche
Estimate $60,000 - 80,000
Sold for $163,800
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129
Marc Chagall
La danse au village
Estimate $4,000 - 6,000
Sold for $15,120
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130
Käthe Kollwitz
Mutter, zwei Kinder an sich pressend
Estimate $40,000 - 60,000
Sold for $56,700
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131
Richard Pettibone
Andy Warhol, "Liz," 1963
Estimate $40,000 - 60,000
Sold for $55,440
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132
Richard Pettibone
Andy Warhol, "Marilyn Monroe," 1962 (brown)
Estimate $30,000 - 40,000
Sold for $32,760
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133
Richard Pettibone
Jasper Johns "Grey Rectangles," 1957
Estimate $40,000 - 60,000
Sold for $37,800
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134
Richard Pettibone
Marcel Duchamp "Bicycle Wheel," 1913
Estimate $40,000 - 60,000
Sold for $63,000
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135
Alexander Calder
Untitled
Estimate $200,000 - 300,000
Sold for $365,400
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136
Saul Steinberg
Two Worlds
Estimate $8,000 - 12,000
Sold for $10,080
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137
Jean Dubuffet
Site aux trois arbres
Estimate $400,000 - 600,000
Sold for $541,800
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138
Jack Tworkov
Marsh
Estimate $60,000 - 80,000
Sold for $75,600
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139
Philip Guston
Slope
Estimate $300,000 - 500,000
Sold for $365,400
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140
Willem de Kooning
Untitled
Estimate $500,000 - 700,000
Sold for $630,000
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141
Mary Heilmann
Glide
Estimate $150,000 - 200,000
Sold for $126,000
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142
Richard Pousette-Dart
Pool of Contemplation
Estimate $180,000 - 250,000
Sold for $214,200
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143
Ralph Humphrey
Armanda
Estimate $30,000 - 50,000
Sold for $107,100
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144
Hans Hofmann
Untitled
Estimate $150,000 - 200,000
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145
This lot is no longer available.
146
Theodoros Stamos
Navarone
Estimate $80,000 - 120,000
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147
Betty Parsons
Untitled
Estimate $20,000 - 30,000
Sold for $138,600
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148
Robert Motherwell
Basque Suite #50
Estimate $50,000 - 70,000
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149
David Smith
Classic Figure III
Estimate $100,000 - 150,000
Sold for $201,600
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150
Elaine de Kooning
Bull
Estimate $15,000 - 20,000
Sold for $75,600
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151
Larry Poons
Panamar
Estimate $50,000 - 70,000
Sold for $100,800
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152
Friedel Dzubas
Key Largo
Estimate $50,000 - 70,000
Sold for $63,000
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153
Roger Brown
Two works: (i-ii) Untitled
Estimate $30,000 - 50,000
Sold for $35,280
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154
Roger Brown
Looking for a Leveraged Buyout
Estimate $60,000 - 80,000
Sold for $132,300
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155
Roger Brown
The Big Bang
Estimate $40,000 - 60,000
Sold for $42,840
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156
John Wesley
Flight
Estimate $90,000 - 120,000
Sold for $81,900
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157
Kenneth Noland
Dawn-Dusk
Estimate $150,000 - 250,000
Sold for $195,300
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158
Fred Sandback
Untitled
Estimate $60,000 - 80,000
Sold for $69,300
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159
Nam June Paik
Music is Not Sound
Estimate $100,000 - 150,000
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160
Carl Andre
Steel Parallels
Estimate $100,000 - 150,000
Sold for $176,400
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161
John Chamberlain
Los Ang Us
Estimate $400,000 - 600,000
Sold for $365,400
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162
Frank Stella
k.161b
Estimate $60,000 - 80,000
Sold for $75,600
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163
This lot is no longer available.
164
Roy Lichtenstein
Suspended Mobile
Estimate $150,000 - 200,000
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165
Jean-Michel Basquiat
Untitled (Geese+)
Estimate $300,000 - 400,000
Sold for $302,400
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166
Martin Wong
Untitled (Antonio Home)
Estimate $40,000 - 60,000
Sold for $138,600
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167
Keith Haring
For Herb
Estimate $50,000 - 70,000
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168
Andy Warhol
Marilyn
Estimate $100,000 - 150,000
Sold for $113,400
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169
Andy Warhol
Flowers
Estimate $250,000 - 350,000
Sold for $277,200
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170
Andy Warhol
Portrait of Bronka Weintraub
Estimate $120,000 - 180,000
Sold for $126,000
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171
Robert Rauschenberg
Pewter Drawer
Estimate $300,000 - 500,000
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172
Robert Rauschenberg
Quarters from the series Anagrams (A Pun)
Estimate $100,000 - 150,000
Sold for $126,000
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173
Ed Ruscha
Chick Unit
Estimate $200,000 - 300,000
Sold for $214,200
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174
Ed Ruscha
Three works: (i-iii) Periods
Estimate $120,000 - 180,000
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175
Alex Katz
Zihuatenejo Bay
Estimate $35,000 - 45,000
Sold for $50,400
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176
Neil Jenney
Lines and Track
Estimate $200,000 - 300,000
Sold for $245,700
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177
Ralph Goings
Hot Fudge Sundae
Estimate $200,000 - 300,000
Sold for $403,200
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178
Fernando Botero
Venus
Estimate $350,000 - 450,000
Sold for $529,200
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179
Manolo Valdés
Regina
Estimate $50,000 - 70,000
Sold for $55,440
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180
Fernando Botero
Reclining Woman with Mirror
Estimate $400,000 - 600,000
Sold for $403,200
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181
Bowl of Fruits
Estimate $180,000 - 220,000
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182
Pablo Picasso
Personnage endormi et femme accroupie (VIII)
Estimate $150,000 - 200,000
Sold for $151,200
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183
Henri Matisse
Jeune fille assise
Estimate $50,000 - 70,000
Sold for $56,700
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184
This lot is no longer available.
185
Francis Picabia
Sans titre
Estimate $20,000 - 30,000
Sold for $42,840
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186
Francis Picabia
Sans titre
Estimate $250,000 - 350,000
Sold for $226,800
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187
Joan Miró
Sans titre
Estimate $70,000 - 90,000
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188
Wassily Kandinsky
Untitled
Estimate $140,000 - 180,000
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189
Jean Dubuffet
Texte Logologique VI
Estimate $40,000 - 50,000
Sold for $52,920
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190
Alexander Calder
Untitled
Estimate $30,000 - 50,000
Sold for $69,300
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191
Alexander Calder
Untitled
Estimate $40,000 - 60,000
Sold for $75,600
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192
Bob Thompson
The Beg
Estimate $30,000 - 50,000
Sold for $75,600
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193
Beauford Delaney
Self-portrait
Estimate $30,000 - 40,000
Sold for $315,000
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194
Andy Warhol
Rolling Stones - Love you Live Bill Wyman
Estimate $15,000 - 20,000
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195
Andy Warhol
The Annunciation (after Leonardo da Vinci)
Estimate $40,000 - 60,000
Sold for $40,320
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196
Andy Warhol
Head (After Picasso)
Estimate $15,000 - 20,000
Sold for $71,820
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197
Marisa Merz
Untitled (Gold and Silver)
Estimate $70,000 - 90,000
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198
Gordon Matta-Clark
Bing-Go Gone
Estimate $20,000 - 30,000
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199
Sigmar Polke
Untitled
Estimate $100,000 - 150,000
Sold for $75,600
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200
Georg Baselitz
Untitled (Beach Picture)
Estimate $12,000 - 18,000
Sold for $12,600
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201
Anselm Kiefer
Gilgamesch im Zedernwald
Estimate $40,000 - 60,000
Sold for $37,800
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202
Friedrich Schröder-Sonnenstern
Pussy, Die mondmoralische Märchenwundersau com Kurfürstendamm
Estimate $3,000 - 5,000
Sold for $3,780
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203
Francis Bacon
Untitled (Figure upside down on sofa)
Estimate $100,000 - 150,000
Sold for $157,500
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204
William Turnbull
Untitled (Walking Figures)
Estimate $10,000 - 15,000
Sold for $50,400
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205
Yayoi Kusama
Grass-Igniting Coruscation
Estimate $50,000 - 70,000
Sold for $75,600
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206
Yayoi Kusama
Village with Mountain Views
Estimate $15,000 - 20,000
Sold for $23,940
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207
Mark Tobey
Untitled (Raissance of a Flower)
Estimate $20,000 - 30,000
Sold for $44,100
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208
Paul Jenkins
Phenomena Entrance to Peking
Estimate $25,000 - 35,000
Sold for $22,680
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209
Al Held
Cygnus I
Estimate $20,000 - 30,000
Sold for $52,920
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210
David Novros
Untitled
Estimate $15,000 - 20,000
Sold for $32,760
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211
Alfred Jensen
Gothic
Estimate $18,000 - 25,000
Sold for $25,200
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212
Lee Mullican
Isis Appearing (Guardian Figure)
Estimate $10,000 - 15,000
Sold for $44,100
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213
Larry Bell
Small Mirage Study #162
Estimate $15,000 - 20,000
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214
Harvey Quaytman
Walnut, Slate and Clay
Estimate $25,000 - 35,000
Sold for $47,880
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215
Sol LeWitt
Black and Gray Diagonal Bands in Three Directions with a Black Border
Estimate $40,000 - 60,000
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216
Richard Tuttle
Untitled
Estimate $7,000 - 10,000
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217
George Rickey
Inverted Column
Estimate $30,000 - 50,000
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218
George Rickey
Two Fixed Two Moving Lines III
Estimate $20,000 - 30,000
Sold for $32,760
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219
Joel Shapiro
Untitled
Estimate $12,000 - 18,000
Sold for $11,970
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220
Luis Tomasello
Atmosphère Chromoplastique No. 259
Estimate $40,000 - 60,000
Sold for $39,060
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221
Edgar Negret
Árbol
Estimate $25,000 - 35,000
Sold for $21,420
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222
This lot is no longer available.
223
Carlos Alfonzo
Thought Forms
Estimate $60,000 - 80,000
Sold for $138,600
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224
This lot is no longer available.
225
Ana Mercedes Hoyos
Inverapuestas el Perro
Estimate $70,000 - 90,000
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226
LeRoy Neiman
Le rendez-vous
Estimate $40,000 - 60,000
Sold for $40,320
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227
Bernard Buffet
La montagne Sainte-Victoire
Estimate $50,000 - 70,000
Sold for $52,920
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228
Bernard Buffet
Princesse Espagnole
Estimate $40,000 - 60,000
Sold for $252,000
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229
Christian Zervos
The complete set of Pablo Picasso, Catalogue Raisonné 1875-1973
Estimate $12,000 - 18,000
Sold for $37,800
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230
Georges Rouault
Jeune clown pensif
Estimate $25,000 - 35,000
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231
Auguste Herbin
Untitled
Estimate $8,000 - 12,000
Sold for $8,820
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232
Carl Paul Jennewein
Iris
Estimate $40,000 - 60,000
Sold for $37,800
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233
Jim Dine
Untitled
Estimate $18,000 - 25,000
Sold for $16,380
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234
Claes Oldenburg
Two Small Ray Guns
Estimate $40,000 - 60,000
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235
Larry Rivers
Dreyfus
Estimate $10,000 - 15,000
Sold for $8,820
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236
Kenny Scharf
Coconut Donut in Space
Estimate $15,000 - 20,000
Sold for $41,580
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237
Kenny Scharf
Turkone
Estimate $40,000 - 60,000
Sold for $126,000
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238
Kenny Scharf
Spacecase
Estimate $30,000 - 40,000
Sold for $81,900
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