ARTIST: Don Doe (Ohio, New York, born 1963) TITLE: Flood No 44 (titled on verso) YEAR: 1994 MEDIUM: oil on canvas CONDITION: Very good. No visible inpaint under UV light. ART SIZE: 10 x 26 inches / 25 x 66 cm FRAME SIZE: 12 x 28 inches / 30 x 71 cm SIGNATURE: on verso CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 124820 US Shipping $75 + insurance. BIOGRAPHY: Donald Doe is an American artist born in Ohio, who goes by the name Don Doe. He went to the Cleveland Institute of Art, and received his Masters in Fine Arts in Sculpture from Yale University School of Art. Some of his peers included artists, Lisa Yuskavage, Richard Philips, Sean Landers, and John Currin. To further his abilities to work with sculpture Doe worked as an Assistant Process Engineer at Tallix Art Foundry in Beacon, New York. He worked here for two and a half years, and met his future wife there. After receiving a grant from the Pollock-Krasner Foundation in 1991, Doe moved to Brooklyn's rich artistic culture.He has worked as an illustrator for The New Yorker as well as other journals. He has also held art professor positions teaching sculpture, 3d design, and rendering at St. John's University and the New York School of Interior Design. Particular pieces of his work are owned by the Museum of Modern Art, The Chicago Institute of Art, Cornell University, among others.While Don Doe's work covers a range of subjects, his earliest work seemed to have a focus on the production of art. The uses of figures such as the artist's muse, dealer, studio assistance, and an over abundance of canvases portray the various moments within the completion of an artist's work. Alongside these pieces were male figures being engulfed in floods, on the remains of their former lives personified by the cars or houses they floated on. There is a collection of these works in the Deutsche Bank New York City, as well as the Piergoi Flat Files in Brooklyn. Alongside Doe's collection are a number of other artists represented by the Deutsche Bank New York that share his artistic strategies. These artists included, but are not limited to, Nina Bovasso, Tom Burckhardt, Ken Butler, Marc Dean Veca, Tim Maul, and Charles Spurrier.Doe's work evolved into the focus of the female body. In an interview by Pierogi, Don Doe explores his thoughts on the transition into a new set of works; titled Scopophilia. These works depicted men taking photos of women in various poses. The male and female figures play into the viewer's understanding of social reality, as well as the classical masters who also painted nude figures. This is further explored in an interview of a 2003 show that Don Doe partook in. This review in The New York Times by Ken Johnson briefly goes over the way Doe's work interacts with mythology and male desire.With loaded brushes on medium-size canvases, Mr. Doe paints heated close-ups of beautiful nude or partly exposed women. Lurking in the background of each is a man--or, in one case, a woman--with a camera. Each picture updates an ancient myth: the Expulsion, Leda and the Swan, Echo and Narcissus. But what is most immediately at stake is the connection between a psychology of voyeurism, exhibitionism and shame on the one hand, and the urgent sensuality of painting on the other. For all its material generosity, however, a certain stiff and laborious quality in his painting undermines the effect. The works mentioned here differ greatly from the previous watercolors, showing his diverse material. In an article published by Deutsche Bank there is an exploration on Doe's variety of work. "Doe is concerned in maintaining a balance in which humorous commentary and the artistically self-referential, narcissism and melancholy are not locked into competition with one another, but remain in a state of suspension." This state of suspension is an essential aspect to Don Doe's work. The paintings are not meant to be entirely humorous, which is why they are placed comfortably alongside the narcissistic and melancholy themes of the work.Doe's work made another evolution in visual content. This new theme focused on female pirates in sensual poses, typically mimicking pin-ups. Doe created a work based on Moby Dick, but in his version of the epic he portrayed Ishmael as a pinup girl building a ship in a bottle much like he builds his own coffin. These oil paintings and watercolors portray pirate women, typically nude or scantly dressed, along with images of ships, either within bottles or upon the sea. While there is not a male figure within the images, the male gaze is still apparent; reflected onto the viewer. These images still mimic a humorous and sensual view of pin-up illustrations, while also questioning social norms and stereotypes. Don Doe uses poses and images from Jean-Honore Fragonard's work, comic strips, history books, pornography, and illustration genres to create an alternate world where "women are dominatrix 'pirate gals' and men are as ships in a bottle. These phallically potent 'Pirate Gals' celebrate pinup representations and wear their sexuality as an identity."These thoughts were explored in a book, Dangerous Waters by Andrea Inselmann. Dangerous Waters was published alongside Doe's group show at the Herbert F. Johnson Museum of Art at Cornell University where fellow artists Dylan Graham and Sally Smart were shown. The show had a strong theme of pirates, ships, and the vast ocean, which each of these artists demonstrates in their own way. The book shows images of the pieces displayed, as well as a group of articles that illustrates the forces at play within these artist's works. Within this text, Inselmann is able to bring to light some of the essential points Doe's work is making. "Blowing wide open boundaries that have been established for the sake of gender identification along gender lines," writes Inselmann, "Doe's images encourage us to consider recent theories of spectatorship that propose more fluid processes across gender lines."
Don Doe b. 1963 i. Pirate Girls (She Spied a Vessel) ii. Pirate Gal (The Second Mate) iii. Pirate Tales iv. Shirt Sail v. The Maps vi. Avast Mates [Six Works] i & vi. signed Don Doe (lower left) ii, iii & iv. signed Don Doe (lower right) v. signed Don Doe (lower center) watercolor on paper, in six parts each: 9 by 6 in. (22.9 by 15.2 cm.) Executed in 2002.
ARTIST: Don Doe (Ohio, New York, born 1963) TITLE: Flood No 44 (titled on verso) YEAR: 1994 MEDIUM: oil on canvas CONDITION: Very good. No visible inpaint under UV light. ART SIZE: 10 x 26 inches / 25 x 66 cm FRAME SIZE: 12 x 28 inches / 30 x 71 cm SIGNATURE: on verso CATEGORY: old antique vintage painting for auction sale online AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 124820 US Shipping $75 + insurance. BIOGRAPHY: Donald Doe is an American artist born in Ohio, who goes by the name Don Doe. He went to the Cleveland Institute of Art, and received his Masters in Fine Arts in Sculpture from Yale University School of Art. Some of his peers included artists, Lisa Yuskavage, Richard Philips, Sean Landers, and John Currin. To further his abilities to work with sculpture Doe worked as an Assistant Process Engineer at Tallix Art Foundry in Beacon, New York. He worked here for two and a half years, and met his future wife there. After receiving a grant from the Pollock-Krasner Foundation in 1991, Doe moved to Brooklyn's rich artistic culture.He has worked as an illustrator for The New Yorker as well as other journals. He has also held art professor positions teaching sculpture, 3d design, and rendering at St. John's University and the New York School of Interior Design. Particular pieces of his work are owned by the Museum of Modern Art, The Chicago Institute of Art, Cornell University, among others.While Don Doe's work covers a range of subjects, his earliest work seemed to have a focus on the production of art. The uses of figures such as the artist's muse, dealer, studio assistance, and an over abundance of canvases portray the various moments within the completion of an artist's work. Alongside these pieces were male figures being engulfed in floods, on the remains of their former lives personified by the cars or houses they floated on. There is a collection of these works in the Deutsche Bank New York City, as well as the Piergoi Flat Files in Brooklyn. Alongside Doe's collection are a number of other artists represented by the Deutsche Bank New York that share his artistic strategies. These artists included, but are not limited to, Nina Bovasso, Tom Burckhardt, Ken Butler, Marc Dean Veca, Tim Maul, and Charles Spurrier.Doe's work evolved into the focus of the female body. In an interview by Pierogi, Don Doe explores his thoughts on the transition into a new set of works; titled Scopophilia. These works depicted men taking photos of women in various poses. The male and female figures play into the viewer's understanding of social reality, as well as the classical masters who also painted nude figures. This is further explored in an interview of a 2003 show that Don Doe partook in. This review in The New York Times by Ken Johnson briefly goes over the way Doe's work interacts with mythology and male desire.With loaded brushes on medium-size canvases, Mr. Doe paints heated close-ups of beautiful nude or partly exposed women. Lurking in the background of each is a man--or, in one case, a woman--with a camera. Each picture updates an ancient myth: the Expulsion, Leda and the Swan, Echo and Narcissus. But what is most immediately at stake is the connection between a psychology of voyeurism, exhibitionism and shame on the one hand, and the urgent sensuality of painting on the other. For all its material generosity, however, a certain stiff and laborious quality in his painting undermines the effect. The works mentioned here differ greatly from the previous watercolors, showing his diverse material. In an article published by Deutsche Bank there is an exploration on Doe's variety of work. "Doe is concerned in maintaining a balance in which humorous commentary and the artistically self-referential, narcissism and melancholy are not locked into competition with one another, but remain in a state of suspension." This state of suspension is an essential aspect to Don Doe's work. The paintings are not meant to be entirely humorous, which is why they are placed comfortably alongside the narcissistic and melancholy themes of the work.Doe's work made another evolution in visual content. This new theme focused on female pirates in sensual poses, typically mimicking pin-ups. Doe created a work based on Moby Dick, but in his version of the epic he portrayed Ishmael as a pinup girl building a ship in a bottle much like he builds his own coffin. These oil paintings and watercolors portray pirate women, typically nude or scantly dressed, along with images of ships, either within bottles or upon the sea. While there is not a male figure within the images, the male gaze is still apparent; reflected onto the viewer. These images still mimic a humorous and sensual view of pin-up illustrations, while also questioning social norms and stereotypes. Don Doe uses poses and images from Jean-Honore Fragonard's work, comic strips, history books, pornography, and illustration genres to create an alternate world where "women are dominatrix 'pirate gals' and men are as ships in a bottle. These phallically potent 'Pirate Gals' celebrate pinup representations and wear their sexuality as an identity."These thoughts were explored in a book, Dangerous Waters by Andrea Inselmann. Dangerous Waters was published alongside Doe's group show at the Herbert F. Johnson Museum of Art at Cornell University where fellow artists Dylan Graham and Sally Smart were shown. The show had a strong theme of pirates, ships, and the vast ocean, which each of these artists demonstrates in their own way. The book shows images of the pieces displayed, as well as a group of articles that illustrates the forces at play within these artist's works. Within this text, Inselmann is able to bring to light some of the essential points Doe's work is making. "Blowing wide open boundaries that have been established for the sake of gender identification along gender lines," writes Inselmann, "Doe's images encourage us to consider recent theories of spectatorship that propose more fluid processes across gender lines."
Don Doe US B. 1963. A 20th century, Brutalist metal (steel / alloy) sculpture, signed Don Doe Measures: H 14 1/4" x W 10" x D 5" Provenance: Collection of Dick Polich, Polich Tallix Fine Art Foundry. Polich and Tallix produced significant sculptural works over many years. He is known to have produced art with artists such as, Willem de Kooning, Jeff Koons, Roy Lichtenstein, Frank Stella, Helen Frankenthaler, ERTE, Julian Schnabel, Richard Artschwager, Isamu Noguchi, and many others.
Lot 27 Don Doe American (b. 1963) flood No. 44 (1994) acrylic and oil on paper mounted on canvas signed verso 10 x 26 inches frame dimensions: 11 3/4 x 27 3/4 x Provenance: From a Private Collection
Don Doe US B. 1963. A 20th century, Brutalist metal sculpture, signed Don Doe Measures: H 14 1/4" x W 10" x D 5" Provenance: Collection of Dick Polich, Polich Tallix Fine Art Foundry. Polich and Tallix produced significant sculptural works over many years. He is known to have produced art with artists such as, Willem de Kooning, Jeff Koons, Roy Lichtenstein, Frank Stella, Helen Frankenthaler, ERTE, Julian Schnabel, Richard Artschwager, Isamu Noguchi, and many others.
ARTIST: Don Doe (Ohio, New York, born 1963) NAME: Figure Study Class MEDIUM: watercolor on paper CONDITION: Excellent. Framed under glass. Wear to frame. SIGHT SIZE: 15 x 13 inches / 38 x 33 cm FRAME SIZE: 19 x 17 inches / 48 x 43 cm SIGNATURE: lower middle CATEGORY: antique vintage painting AD: ART CONSIGNMENTS WANTED. CONTACT US SKU#: 121213 US Shipping $49 + insurance. BIOGRAPHY: Donald Doe is an American artist born in Ohio, who goes by the name Don Doe. He went to the Cleveland Institute of Art, and received his Masters in Fine Arts in Sculpture from Yale University School of Art.Some of his peers included artists, Lisa Yuskavage, Richard Philips, Sean Landers, and John Currin. To further his abilities to work with sculpture Doe worked as an Assistant Process Engineer at Tallix Art Foundry in Beacon, New York. He worked here for two and a half years, and met his future wife there. After receiving a grant from the Pollock-Krasner Foundation in 1991, Doe moved to Brooklyn's rich artistic culture.He has worked as an illustrator for The New Yorker as well as other journals. He has also held art professor positions teaching sculpture, 3d design, and rendering at St. John's University and the New York School of Interior Design. Particular pieces of his work are owned by the Museum of Modern Art, The Chicago Institute of Art, Cornell University, among others.While Don Doe's work covers a range of subjects, his earliest work seemed to have a focus on the production of art. The uses of figures such as the artist's muse, dealer, studio assistance, and an over abundance of canvases portray the various moments within the completion of an artist's work. Alongside these pieces were male figures being engulfed in floods, on the remains of their former lives personified by the cars or houses they floated on. There is a collection of these works in the Deutsche Bank New York City, as well as the Piergoi Flat Files in Brooklyn. Alongside Doe's collection are a number of other artists represented by the Deutsche Bank New York that share his artistic strategies. These artists included, but are not limited to, Nina Bovasso, Tom Burckhardt, Ken Butler, Marc Dean Veca, Tim Maul, and Charles Spurrier.Doe's work evolved into the focus of the female body. In an interview by Pierogi, Don Doe explores his thoughts on the transition into a new set of works; titled Scopophilia. These works depicted men taking photos of women in various poses. The male and female figures play into the viewer's understanding of social reality, as well as the classical masters who also painted nude figures. This is further explored in an interview of a 2003 show that Don Doe partook in. This review in The New York Times by Ken Johnson briefly goes over the way Doe's work interacts with mythology and male desire.With loaded brushes on medium-size canvases, Mr. Doe paints heated close-ups of beautiful nude or partly exposed women. Lurking in the background of each is a man--or, in one case, a woman--with a camera. Each picture updates an ancient myth: the Expulsion, Leda and the Swan, Echo and Narcissus. But what is most immediately at stake is the connection between a psychology of voyeurism, exhibitionism and shame on the one hand, and the urgent sensuality of painting on the other. For all its material generosity, however, a certain stiff and laborious quality in his painting undermines the effect.The works mentioned here differ greatly from the previous watercolors, showing his diverse material. In an article published by Deutsche Bank there is an exploration on Doe's variety of work. "Doe is concerned in maintaining a balance in which humorous commentary and the artistically self-referential, narcissism and melancholy are not locked into competition with one another, but remain in a state of suspension." This state of suspension is an essential aspect to Don Doe's work. The paintings are not meant to be entirely humorous, which is why they are placed comfortably alongside the narcissistic and melancholy themes of the work.Doe's work made another evolution in visual content. This new theme focused on female pirates in sensual poses, typically mimicking pin-ups. Doe created a work based on Moby Dick, but in his version of the epic he portrayed Ishmael as a pinup girl building a ship in a bottle much like he builds his own coffin. These oil paintings and watercolors portray pirate women, typically nude or scantly dressed, along with images of ships, either within bottles or upon the sea. While there is not a male figure within the images, the male gaze is still apparent; reflected onto the viewer. These images still mimic a humorous and sensual view of pin-up illustrations, while also questioning social norms and stereotypes. Don Doe uses poses and images from Jean-Honore Fragonard's work, comic strips, history books, pornography, and illustration genres to create an alternate world where "women are dominatrix 'pirate gals' and men are as ships in a bottle. These phallically potent 'Pirate Gals' celebrate pinup representations and wear their sexuality as an identity."These thoughts were explored in a book, Dangerous Waters by Andrea Inselmann. Dangerous Waters was published alongside Doe's group show at the Herbert F. Johnson Museum of Art at Cornell University where fellow artists Dylan Graham and Sally Smart were shown. The show had a strong theme of pirates, ships, and the vast ocean, which each of these artists demonstrates in their own way. The book shows images of the pieces displayed, as well as a group of articles that illustrates the forces at play within these artist's works. Within this text, Inselmann is able to bring to light some of the essential points Doe's work is making. "Blowing wide open boundaries that have been established for the sake of gender identification along gender lines," writes Inselmann, "Doe's images encourage us to consider recent theories of spectatorship that propose more fluid processes across gender lines."
Lot 184 Don Doe American (b. 1963) flood No. 44 (1994) acrylic and oil on paper mounted on canvas signed verso 10 x 26 inches frame dimensions: 11 3/4 x 27 3/4 x Provenance: From a Private Collection
Lot 25 Don Doe American (b. 1963) Untitled (Figure Study Class) watercolor on paper signed bottom center sheet: 15 x 13 inches Provenance: from a private New York collection
Oil on canvas, 2011, signed 'Don Doe', titled and dated on the reverse, with label from Morgan Lehman, NY. 40 x 30 in., unframed. A Contemporary Vision: Works from the Melva Bucksbaum Collection Sold to Benefit Art for Access at Bennington College
Group of 3 watercolors and ink on paper USA, 2001 Don Doe (b. 1963) – American artist Each signed in ink, ‘Dreams’ dated lower right Each framed Various sheet dimensions Frame dimensions, each: 17 ½ x 19 in. (44.5 x 48.3 cm.) Very good condition Estimate $600-$800 Provenance Pierogi, Brooklyn, New York Don Doe (American, b. 1963) Don Doe was born in Toledo, Ohio and received his MFA from the Yale University School of Art in 1987. Known for his fantastical, seductive expressions of sexuality, Doe, with loose and swift painterly brushstrokes, creates fabricated scenarios after art historical examples of erotic women. Over the past two decades, Doe’s work has exhibited in numerous solo and group exhibitions, mostly in New York. She lives and works in Brooklyn, New York. Condition Each in overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Don Doe (American, b. 1963) A Thirst, 2003 watercolor and ink on paper signed lower left 21" x 15" Provenance: Bodybuilder & Sportsman Gallery, Chicago (label on verso)
Don Doe (American, b.1963); Bed Board, 1998; Oil on canvas; Signed, dated and titled; 22" x 17 3/4"; Provenance: Pierogi Gallery, Brooklyn; Anna Kustera Gallery, New York; Private Collection
![i. Pirate Girls (She Spied a Vessel); ii. Pirate Gal (The Second Mate); iii. Pirate Tales; iv. Shirt Sail; v. The Maps; vi. Avast Mates [six works]](https://stageimg.invaluable.com/housePhotos/sothebys/11/755811/H0046-L347663940.jpg)
