Guido (1933) Molinari Paintings & Artwork for Sale | Guido (1933) Molinari Art Value Price Guide

Mar. 26, 2024
Molinari, Guido - Abstraction - 1981
Est: $2,500 - $3,500
Molinari, Guido (1933-2004) Abstraction (1981) Description (FR): Pastel sur papier identifie, date et authentifie au dos par la Galerie Eric Devlin. Description (EN): Pastel on paper identified, dated, and authentified on the reverse by Eric Devlin Gallery. Dimension (PO): 6.25" x 7" Dimension (CM): 16 x 18 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de rÃ©pondre Ã vos questions de maniÃ¨re dÃ©taillÃ©e. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Mar. 22, 2023
MOLINARI (Guido).
Est: €400 - €500
Nul mot. Montréal, L'obsidienne, 1979. In-folio, en feuilles, couverture illustrée, étui. Ouvrage orné de 10 eaux-fortes et 10 poèmes de Guido Molinari, peintre québécois (1933-2004). Tirage à 60 exemplaires signés par l'artiste, celui-ci un des 33 sur Rives, accompagné d'un tiré à part.
Alde
May. 12, 2022
MOLINARI (Guido).
Est: €800 - €1,000
Nul mot. Montréal, L'obsidienne, 1979. In-folio, en feuilles, couverture illustrée, étui. Ouvrage orné de 10 eaux-fortes et 10 poèmes de Guido Molinari, peintre québécois (1933-2004). Tirage à 60 exemplaires signés par l'artiste, celui-ci un des 33 sur Rives, accompagné d'un tiré à part.
Alde
Mar. 15, 2022
Molinari, Guido - Sans titre - 1953
Est: $3,000 - $4,000
Molinari, Guido (1933-2004) Sans titre (1953) Description (FR): Encre sur papier, signée et datée en bas à droite G. Molinari 53 Étiquette Agnès Etherington Art Center, Queen University at Kingston Ontario Description (EN): Ink on paper, signed and dated on lower right G. Molinari 53 Label of Agnès Etherington Art Center, Queen University at Kingston Ontario Dimension (PO): 12 1/4" x 18 3/4" Dimension (CM): 21.1 x 47.6 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Mar. 15, 2022
Molinari, Guido - Nul mot - 1993
Est: $300 - $400
Molinari, Guido (1933-2004) Nul mot (1993) Description (FR): Livre 84/200, signé Guido Molinari, incluant 10 poèmes et 11 lithographies, réplique en format réduit de la version de 1979 Description (EN): Book 84/200, signed Guido Molinari, including 10 poems and 11 lithographs, scaled-down replica of the 1979 version Dimension (PO): 11 1/4" x 9" x 1/2" Dimension (CM): 28.6 x 22.8 x 2 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Nov. 24, 2021
GUIDO MOLINARI (1933-2004)
Est: €3,000 - €5,000
GUIDO MOLINARI (1933-2004) Composition #8, 1955 Watercolor on paper. Watercolor on paper. H_50.8 cm W_66 cm Provenance: - Carmen Lamanna gallery, Toronto - Acquired from this gallery by the present owner - Private collection Composition #8, 1955 Aquarelle sur papier. Watercolor on paper. H_50,8 cm L_66 cm Provenance : - Carmen Lamanna gallery, Toronto - Acquis auprès de cette galerie par l'actuelle propriétaire - Collection privée
Pierre Bergé & Associés
Nov. 06, 2021
GUIDO MOLINARI CANADIAN 1933-2004
Est: $1,500 - $2,000
Black and White, oil on canvas stretched and laid on thin board, 24 x 12 in (61 x 30.4 cm), signed and dated verso, PROVENANCE: Private collection New York
Trinity International Auctions & Appraisals, LLC
Dec. 15, 2020
Molinari, Guido - Sketch for ptg - 1963
Est: $4,000 - $5,000
Molinari, Guido (1933-2004) Sketch for ptg (1963) Description (FR): Gouache sur papier, signée et datée au dos Molinari 1963 Certificat d'authenticité Galerie Eric Devlin Description (EN): Gouache on paper, signed and dated on the back Molinari 1963, Certificate of authenticity by Galerie Eric Devlin Dimension (PO): 8 1/2" x 7 1/4" Dimension (CM): 21.59 x 18.41 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Oct. 09, 2020
Guido Molinari, Canadian (1933-2004), 29 1/4 x 23 1/4 in. (74 x 59 cm); 23 1/4 x 29 1/4 in. (59 x 74 cm)
Est: $30 - $50
Guido Molinari, Canadian (1933-2004), Structure Rouge Violet, print, together with a Jacques Hurtubise, Canadian (1939-2014), Isabelle, print. 29 1/4 x 23 1/4 in. (74 x 59 cm); 23 1/4 x 29 1/4 in. (59 x 74 cm)
Maynards Fine Art & Antiques
Jul. 24, 2020
Guido Molinari, Canadian (1933-2004), 29 1/4 x 23 1/4 in. (74 x 59 cm); 23 1/4 x 29 1/4 in. (59 x 74 cm)
Est: $30 - $50
Guido Molinari, Canadian (1933-2004), Structure Rouge Violet, lithographic print, together with a Jacques Hurtubise, Canadian (1939-2014), Isabelle, lithographic print. 29 1/4 x 23 1/4 in. (74 x 59 cm); 23 1/4 x 29 1/4 in. (59 x 74 cm)
Maynards Fine Art & Antiques
Mar. 17, 2020
Molinari, Guido - Triangles - 1974
Est: $300 - $500
Molinari, Guido (1933-2004) Triangles (1974) Description (FR): Lithographie sur papier, 35/125, signée et datée en bas Molinari 74 Description (EN): Lithograph on paper, 35/125, signed and dated below Molinari 74 Dimension (PO): 21 1/2" x 14 1/2" Dimension (CM): 54.61 x 36.83 cm Rapport de condition: Rapport de condition : Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Condition Report : Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Sep. 24, 2019
MOLINARI, GUIDO - TRIANGULAIRE JAUNE-ORANGE - 1974
Est: $300 - $500
Molinari, Guido (1933-2004) Triangulaire jaune-orange (1974) Lithographie sur papier, 36/125, signée et titrée en bas Molinari 74 Lithograph on paper, 36/125, signed and dated on bottom Molinari 74 21 1/2" x 14 1/2" - 54.61 x 36.83 cm Rapport de condition : Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition Report : Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
May. 28, 2018
GUIDO MOLINARI, R.C.A, RED QUANTIFIER, oil on canvas, 48 ins x 36 ins; 91.4 cms x 121.9 cms
Est: $35,000 - $45,000
GUIDO MOLINARI, R.C.ARED QUANTIFIERoil on canvassigned and dated 7/87 on the reverse 48 ins x 36 ins; 91.4 cms x 121.9 cms Provenance:Paul Kuhn Gallery, CalgaryPrivate Collection, TorontoFor decades, Guido Molinari (1933-2004) was the driving force in Quebec abstract art. In 1956 he joined the Non-Figurative Artists Association of Montreal and was a founder of Les Plasticiens. They were dedicated to a cool, rational non-expressionistic aesthetic with special affection shown towards the example and achievements of the striped paintings of American, Barnett Newman. Molinari’s signature style featured primarily vertical stripes. The optical vibration at the intersection of the adjoining bands of colour caused uncanny perceptual quandaries for the viewer. Intellectually, one could discern the governing system of the placement of colours, yet perceptually the effect alluded our ability to hold the result into a stable gestalt. These optical paintings were the mainstay of his early career and generated many exhibitions wordwide.Yet by the 1970s he began to experiment with taming down the jarring effect of placing vastly different hue stripes adjacent to one another. Instead, he gravitated towards near monochromes, where each stripe was initially virtually indistinguishable from its neighboring hue. These celebrated minimalistic offerings are referred to as his Quantifier paintings. His near monochromes remain relevant and celebrated to this day; one was showcased in Entangled: Two Views of Contemporary Canadian Painting (Vancouver Art Gallery, December 2017). It was presented as a continuing inspiration to a new generation of Quebec geometric painters.Molinari was the dominant force in Quebec abstraction through his art, his theoretical writings and his exemplary impact upon generations of young artists as a professor at Concordia University. His works are almost always on view in the permanent collection installations of Canada’s leading art museums. Key art historical texts devote extensive sections to chronicle his impact. His works have been avidly acquired by discerning private and corporate collectors and are included in the collections of every significant art museum in Canada and elsewhere.Estimate: $35,000–45,000
Waddington's
May. 28, 2018
GUIDO MOLINARI, R.C.A, UNTITLED (BLUE STUDY), oil on canvas, 20 ins x 15.75 ins; 39.4 cms x 50.8 cms
Est: $12,000 - $18,000
GUIDO MOLINARI, R.C.AUNTITLED (BLUE STUDY)oil on canvassigned and dated 2/96 on the reverse 20 ins x 15.75 ins; 39.4 cms x 50.8 cms Provenance:Private Collection, TorontoUntitled (Blue Study) by Guido Molinari (1933-2004) is a fine work by an artist of great importance to the history of abstract art in Canada. Its highly reduced compositional format displays his affection for related works by Kasmir Malevich, Mark Rothko, but more specifically Piet Mondrian and Josef Albers. Molinari personally owned works by the latter two artists. Rothko of course was well-regarded for creating compositions that tried to ‘light-up’ a central floating rectangle by the sheer contrast of the surrounding border colour. In Molinari’s instance, his inspiration was no doubt directly attributable to Albers paintings Homage to the Square and his much-read treatise: The Interaction of Colour. Molinari’s monochrome paintings later in life, such as his Quantifier series continue to draw critical acclaim (see lot 68).His works are numerously included in the collections of every significant art museum in Canada, and additionally the Museum of Modern Art, NY. Molinari was the recipient of many awards including a Guggenheim Fellowship in 1967. Molinari represented Canada at the 1968 Venice Biennale, participated in the Paris Biennale, 1970, was made an Officer of the Order of Canada in 1971, elected a member of the Royal Canadian Academy of Arts and won the Prix Paul-Émile-Borduas in 1980. Estimate: $12,000–18,000
Waddington's
Apr. 12, 2018
GUIDO MOLINARI (1933-2004), UNTITLED, 1958/80, Colour lithograph on handmade paper; signed, dated 1958/80 and numbered 11/20 in pen and ink, Sheet 40 x 30 in — 101.6 x 76.2 cm
Est: $1,200 - $1,800
GUIDO MOLINARI (1933-2004), CANADIANUNTITLED, 1958/80Colour lithograph on handmade paper; signed, dated 1958/80 and numbered 11/20 in pen and inkSheet 40 x 30 in — 101.6 x 76.2 cmProvenance:Private Collection, MontrealEstimate: $1,200—1,800
Waddington's
Dec. 07, 2016
Guido Molinari (1933-2004), abstrahierter Akt mit Filmstreifen, Messing, sign. u. num. ''Molinari I/I'', auf Obsidiansockel, Stift am Fuß abgebr., H. 35 cm
Est: -
Guido Molinari (1933-2004), abstrahierter Akt mit Filmstreifen, Messing, sign. u. num. ''Molinari I/I'', auf Obsidiansockel, Stift am Fuß abgebr., H. 35 cm
Historia Auctionata
May. 30, 2016
GUIDO MOLINARI R.C.A., RED QUANTIFIER, oil on canvas, 78 ins x 66 ins; 193 cms x 167.6 cms
Est: $90,000 - $120,000
GUIDO MOLINARI R.C.A.RED QUANTIFIERoil on canvassigned and dated 1/88 on the reverse 78 ins x 66 ins; 193 cms x 167.6 cms Provenance:Private Collection, TorontoNote:By the 1960s, Montreal artist Guido Molinari was one of the most important abstract painters in Canada, known for large scale abstract compositions of saturated colour. One of the later Plasticiens (along with Claude Tousignant), Molinari created work which resembled American “hard-edged” painting by colour field artists like Kenneth Noland, and Minimalist work with its emphasis on geometry and simplicity from the same period. But Molinari was more interested in the dynamic movement that occurs between colours which appear to change under the viewer’s gaze. He first succeeded in eliminating the hierarchy of forms in pictorial space (figure-ground relationship) by causing the viewer’s visual perception to move back and forth between black and white shapes. From 1963, he began using vertical bands of colours of equal width, varying their positions relative to each other to create optical experiences (see Figure 1. The work requires longer and repeated viewing time for the optical effects to take place.Molinari began his “Quantifiers” series of large quasi-monochrome canvases in 1975 and worked on them for the following twenty years. In these works, he explored the relationship between the canvas size, the number of internal trapezoid colour masses (Roald Nasgaard’s term) which divide the canvas vertically and the range of closely related colours. In the series of Red Quantifiers from the mid- to late 1980s, to which this lot belongs, Molinari varied the width and number of the vertical colour masses and adjusted their edges to deviate from the true vertical. This causes the unpredictable play of visual effects across the surface of the canvas as planes of closely related reds form and reform with sustained viewing. Viewers are not entirely certain what they are seeing.Molinari preferred using pure colours for the greater energy they emit, which enhances the quality of animation across the surface of the painting.
Waddington's
Jan. 30, 2016
MOLINARI GUIDO (1933-2004) Sculpture Visage
Est: €100 - €150
MOLINARI GUIDO (1933-2004) Sculpture Visage Bas-relief en bronze doré Signée et numéroté 1/50 Dimensions : 17 x 10 cm
Accademia Fine Art
Jan. 30, 2016
MOLINARI GUIDO (1933-2004) Lot de 3 presse- papier en bronze doré
Est: €140 - €180
MOLINARI GUIDO (1933-2004) Lot de 3 presse- papier en bronze doré Signés et numérotés 1/50 Dimensions : 5 x 6,5 cm
Accademia Fine Art
Mar. 10, 2015
Guido Molinari (1933-2004), UNTITLED, 1992, Colour silkscreen; signed, dated 1992 and numbered 5/9 in pencil to margin., Image 22.3" x 22.25" - 56.7 x 56.5 cm.
Est: $2,500 - $3,500
GUIDO MOLINARI (1933-2004), CANADIANUNTITLED, 1992Colour silkscreen; signed, dated 1992 and numbered 5/9 in pencil to margin.Image 22.3" x 22.25" - 56.7 x 56.5 cm.Estimate: $2,500-3,500
Waddington's
May. 26, 2014
GUIDO MOLINARI, MUTATION SERIELLE WITH BLACK BAND, acrylic on canvas, 75 ins x 60 ins; 152.4 cms x 190.5 cms
Est: $70,000 - $90,000
GUIDO MOLINARIMUTATION SERIELLE WITH BLACK BANDacrylic on canvassigned and dated /66 on the reverse 75 ins x 60 ins; 152.4 cms x 190.5 cms Provenance:John C. Parkin, TorontoPrivate Collection, U.S.A.Exhibited:Guido Molinari, National Gallery of Canada, Ottawa, 1976, cat. no. 35.Guido Molinari, Une Rétrospective, Musée d'art Contemporain, Montreal, 1995, cat. no. 40.Literature:Pierre Théberge, Guido Molinari (exhibition catalogue), National Gallery of Canada, Ottawa, 1976, page 94, cat. no.35, listed and pages 42-46.Sandra Grant Marchand, Guido Molinari, Une Rétrospective (exhibition catalogue), Musée d'art Contemporain, Montreal, 1995, page 49, cat. no. 40, reproduced in colour and page 71, listed.Note:In a 1965 document analyzing the work of Piet Mondrian, Molinari came to certain conclusions about his own work which are exemplified by this lot: "Wishing to eliminate conflict between object and space, as well as the expressionist interplay of various proportions, I have come to use elements which are alike in quantity (the width of the stripes) and which rely solely on the qualitative function acquired through the particular mutations of a given colour in a rhythmical sequence." According to Théberge, Molinari had "no desire to reproduce the structures of the external world." Rather in the paintings he did in 1966 (the year this work was painted) "Molinari developed the construction of a new pictorial space through increasingly complex combinations of colour stripes on the canvas." Molinari believed he had attained "a constantly renewed space-time continuum." Théberge writes: "Indeed, the use of vertical stripes of the same size over the entire surface of the painting transformed it into an event in which the viewer contributed, through his perception, the temporal factor which altered the structure of the work." Essentially, the experience was individualized by the viewer, and renewed with each encounter. Furthermore, because the work requires the viewer read the painting from left to right or right to left, art historian François Gagnon posits that "each colour is laden with the perception of the previous one, or at any rate, with the traces it has left in the memory... The actual plastic event seems to be located somewhere between the viewer and the canvas..."
Waddington's
Apr. 09, 2014
Guido Molinari (1933-2004) Canadian. 'Untitled',
Est: £500 - £1,000
Guido Molinari (1933-2004) Canadian. 'Untitled', Gouache, Signed and Dated '60 on the Red Stripe, or possibly a Serigraph, Unframed, 23.25" x 26".
John Nicholson's Fine Art Auctioneers & Valuers
May. 15, 2013
Guido Molinari 1933 - 2004 Canadian acrylic on
Est: $20,000 - $30,000
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Parallèles bleues 36 x 29 7/8 inches 91.4 x 75.9 centimeters on verso titled on the labels Literature:Roald Nasgaard, Abstract Painting in Canada, Art Gallery of Nova Scotia, 2007, page 188 Provenance:Ladies' Committee Sale of Contemporary Canadian Art, Montreal A Prominent Montreal Family Estate In the 1960s, Guido Molinari executed a series of works known as Stripe Paintings using vertical bands of equal width and differing colour in repeating, fixed patterns. It was the reign of hard-edge painting, and Molinari took maximum advantage of the hardest of edges, placing near-total reliance on colour to energize these works. There is much variation in the width of the vertical bands in the individual Stripe Paintings; in Parallèles bleues they are quite wide, while some works have their verticality broken by shorter, horizontal blocks, or are offset by uneven widths, and are even diagonals. It was, however, a depiction of the innate energy of each col our that he sought. He wanted to paint the colour-interaction, with the character of each interaction determined by the width and placement of the colour bands. Roald Nasgaard writes, "Released into play across a field of successive visual experiences, colour in the Stripe Paintings established a 'fictive space,' as Molinari called it, of rhythmic scanning, always fleeting and always advancing, each attempt of the viewer to fix an order as quickly destroyed as it is succeeded by another."
Heffel
Mar. 28, 2013
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Diagonal Bands
Est: $4,000 - $6,000
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Diagonal Bands 26 x 30 inches 66 x 76.2 centimeters on verso signed, titled, dated 1963/77 and inscribed "20/29" Provenance:Galerie Lamoureux Ritzenhoff, Montreal Private Collection, Vancouver Included with this lot is a letter from Eric Devlin of The Molinari Foundation.
Heffel
Mar. 28, 2013
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Sans titre
Est: $30,000 - $50,000
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Sans titre 35 x 29 1/4 inches 88.9 x 74.3 centimeters on verso signed and dated 1963 Literature:Louise Letocha, Molinari, Musée d'art contemporain de Montréal, 1979, page 3 Provenance:Art 45, Montreal Private Collection, Montreal Within the vital artistic milieu of Montreal of the 1960s, Guido Molinari, although affected at times by the theories of the Automatists and the Plasticiens, was an individualist who pursued his own course in abstraction. His goal was liberation from any subject and, as Louise Letocha writes, "The notion of seriality which the artist developed between 1963 and 1970 freed the canvas of any possible reference to nature and secured for the painted surface its own reality." During the early 1960s, Molinari - always acutely aware of the history of painting - was interested in the work of Piet Mondrian and his geometric abstractions using squares. In this bold painting, Molinari has taken the geometry of the square and broken it apart, resulting in the parts vibrating against each other, a vibration primarily created by colour. For Molinari, colour was energy, an energy produced by the dynamism of juxtaposed colours. This became a prime focus of his work, as he became aware of how the interface between two colours created a space of its own, a third energetic field.
Heffel
Nov. 29, 2012
Guido Molinari 1933 - 2004 Canadian conte crayon
Est: $4,000 - $6,000
Guido Molinari 1933 - 2004 Canadian conte crayon on paper Sans titre 24 x 18 inches 61 x 45.7 centimeters Literature:David Burnett, Guido Molinari - Works on Paper, Agnes Etherington Art Centre, Queen's University, 1981, reproduced page 54 and mentioned in the essay page 75 Provenance:Private Collection, Montreal Please note: this work is hinged to an archival mat but it is unframed.
Heffel
Nov. 22, 2012
Guido Molinari 1933 - 2004 Canadian duco on canvas
Est: $70,000 - $90,000
Guido Molinari 1933 - 2004 Canadian duco on canvas Untitled - Black & White 26 x 30 inches 66 x 76.2 centimeters on verso signed, titled on the gallery label and with the inventory #MOL-119 and dated 1955 Literature:David Sylvester, "Interview with Franz Kline", Living Arts, Spring, 1963, reproduced in Barbara Rose, Readings in American Art Since 1900, A Documentary Survey, 1968, page 155 Provenance:Collection of the Artist, Montreal Paul Kuhn Gallery, Calgary Private Collection, Calgary This is an intriguing painting for those who associate Guido Molinari with hard-edge vertical bands of colour. Two things must be taken into consideration here: first, the date of 1955, and second, the medium of duco on canvas. Under the Duco brand, DuPont Company introduced the first quick-drying multi-colour line of nitrocellulose lacquers made especially for the automotive industry. This medium was also used in paintings by the American artist Jackson Pollock. In January 1955, Molinari made a short trip to New York City. He took advantage of his trip to see some paintings that especially interested him, such as the Wassily Kandinsky at the Museum of Non-Objective Painting, which Solomon R. Guggenheim and Hilla Rebay, his personal curator and the museum's first director, opened on East 54th Street in Manhattan in 1939, and the Piet Mondrian at the Museum of Modern Art. We know that he was also interested in other recent American painters such as Pollock - he named him in his article "L'espace tachiste ou situation de l'automatisme". During the months that followed, he experimented in "drippings". One of these experiments was presented from November 12 to 30, under the title of Abstraction No. 1, 1955 (in a private collection), in an exhibition organized by Robert Parizeau and Rolande Sainte-Marie at the business school of the Université de Montreal (known as the École des Hautes Études Commerciales). What our painting suggests is that Franz Kline could have been another American painter discovered by Molinari during his trip. Our Untitled - Black & White is a strong black and white painting, in which the black is thickly painted over a background stained off-white and streaked with grey. Annoyed by the comparison made between his painting and Japanese calligraphy, Kline said in his interview with David Sylvester, "You don't make the letter 'C' and then fill the white in the circle." Similarly, Molinari succeeded in giving as much presence to the off-white as to the black in his painting. The fact that everything is brought to the surface, that we feel only a suggestion of depth, and that the presence of the painter is felt all over the surface, makes this work stand as a definitively "American type painting", quite far from the European refinement of the Plasticiens, admirers of Mondrian and Auguste Herbin, as well as the Surrealist feel of Automatist works. This difference was brought to the attention of the public by a polemic created by derogatory remarks made by Paul-Émile Borduas, who came from NNew York to visit the exhibition Espace 55 about the same time. He thought that the Post-Automatist trend revealed at this exhibition was "dépassé (out of fashion)". Molinari replied in the text mentioned above by saying that it was the "tachist espace" advocated by Borduas that was "dépassé". It was now the time for a completely non-referential painting, proud of its flatness and of its complete break from what he called the Euclidian cube of the Renaissance, meaning a painting reflecting the three dimensions, including depth! Soon Molinari would be tempted by a more geometric and hard-edge style. But he kept to the black and white opposition for a while, as we see in the year after our painting was produced, when he presented his Black and White show from April 30 to May 14, 1956 at L'Actuelle, a gallery he had founded in Montreal with the financial backing of Fernande Saint-Martin the year before. It is interesting to note that the first paintings by Borduas from his famous Black and White series were made in Paris the year after our Molinari painting, which is a rare museum quality painting. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.
Heffel
Mar. 29, 2012
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Sans titre
Est: $45,000 - $65,000
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Sans titre 35 x 29 1/4 inches 88.9 x 74.3 centimeters on verso signed and dated 1963 Literature:Louise Letocha, Molinari, Musée d'art contemporain de Montréal, 1979, page 3 Provenance:Art 45, Montreal Private Collection, Montreal Within the vital artistic milieu of Montreal of the 1960s, Guido Molinari, although affected at times by the theories of the Automatists and the Plasticiens, was an individualist who pursued his own course in abstraction. His goal was liberation from any subject and, as Louise Letocha writes, "The notion of seriality which the artist developed between 1963 and 1970 freed the canvas of any possible reference to nature and secured for the painted surface its own reality." During the early 1960s, Molinari - always acutely aware of the history of painting - was interested in the work of Piet Mondrian and his geometric abstractions using squares. In this bold painting, Molinari has taken the geometry of the square and broken it apart, resulting in the parts vibrating against each other, a vibration primarily created by colour. For Molinari, colour was energy, an energy produced by the dynamism of juxtaposed colours. This became a prime focus of his work, as he became aware of how the interface between two colours created a space of its own, a third energetic field.
Heffel
Nov. 24, 2011
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Sans titre
Est: $45,000 - $65,000
Guido Molinari 1933 - 2004 Canadian acrylic on canvas Sans titre 35 x 29 1/4 inches 88.9 x 74.3 centimeters on verso signed and dated 1963 Literature:Louise Letocha, Molinari, Musée d'art contemporain de Montréal, 1979, page 3 Provenance:Art 45, Montreal Private Collection, Montreal Within the vital artistic milieu of Montreal of the 1960s, Guido Molinari, although affected at times by the theories of the Automatists and the Plasticiens, was an individualist who pursued his own course in abstraction. His goal was liberation from any subject and, as Louise Letocha writes, "The notion of seriality which the artist developed between 1963 and 1970 freed the canvas of any possible reference to nature and secured for the painted surface its own reality." During the early 1960s, Molinari - always acutely aware of the history of painting - was interested in the work of Piet Mondrian and his geometric abstractions using squares. In this bold painting, Molinari has taken the geometry of the square and broken it apart, resulting in the parts vibrating against each other, a vibration primarily created by colour. For Molinari, colour was energy, an energy produced by the dynamism of juxtaposed colours. This became a prime focus of his work, as he became aware of how the interface between two colours created a space of its own, a third energetic field.
Heffel
Nov. 23, 2010
GUIDO MOLINARI 1933 - 2004
Est: $70,000 - $90,000
GUIDO MOLINARI 1933 - 2004 MUTATIONS ATHEMATIQUE VERT-OCRE signed, titled and dated 11/65 by the artist on the reverse oil on canvas 172.7 by 127.0 cm. 68 by 50 in.
Sotheby's
Nov. 23, 2010
GUIDO MOLINARI 1933 - 2004
Est: $8,000 - $12,000
GUIDO MOLINARI 1933 - 2004 ABSTRACT COMPOSITION signed and dated 1963/73 and inscribed 20/29 on the reverse oil on canvas 66.0 by 76.2 cm. 26 by 30 in.
Sotheby's
Jun. 02, 2010
GUIDO MOLINARI 1933 - 2004
Est: $35,000 - $45,000
GUIDO MOLINARI 1933 - 2004 STRUCTURE TRIANGULAIRE GRIS-BRUN titled and dated upper left MOLINARI, 9/72 , and titled on a label on the reverse acrylic on canvas 114.3 by 101.6 cm. 45 by 40 in.
Sotheby's
May. 26, 2010
Guido Molinari 1933 - 2004 Canadian mixed media
Est: $6,000 - $8,000
Guido Molinari 1933 - 2004 Canadian mixed media collage on board Untitled 23 1/2 x 21 inches 59.7 x 53.3 centimeters on verso signed and dated 04/99 Provenance:Moore Gallery Ltd., Toronto Private Collection, Vancouver This work appears to be an evolution from Guido Molinari's earlier stripe paintings. In a reference to these striped paintings, whose hard edges were attained through the use of masking tape, Molinari, in this work, has painted on strips of the masking tape itself. However, rather than being hard-edge, the painting consists of modulated sequences of repeated, vertical broken stripes that push to the front of the picture plane over soft patches of colour in the background, creating dimensionality. Molinari explained his compositional intention, stating, "What I call the structure of the painting is the synthesis of the energies of duration and chromatic. That is what will allow the emergence of a new spatial reality."
Heffel
Apr. 13, 2010
Guido Molinari Canadian (1933-2004)
Est: $45,000 - $60,000
Guido Molinari Canadian (1933-2004) NOIR VERTICALE oil on canvas c. 1961 36 x 31 in.
Maynards Fine Art & Antiques
Mar. 25, 2010
Guido Molinari 1933 - 2004 Canadian silkscreen Untitled
Est: $600 - $800
Guido Molinari 1933 - 2004 Canadian silkscreen Untitled 22 1/2 x 25 inches 57.1 x 63.5 centimeters signed and dated 1960 Provenance:Private Collection, Toronto Please note: this work is unframed.
Heffel
Mar. 25, 2010
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Untitled
Est: $600 - $800
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Untitled 21 3/4 x 18 1/4 inches 55.2 x 46.3 centimeters signed, editioned 20/29 and numbered 567 Provenance:Private Collection, Vancouver Please note: this work is unframed.
Heffel
Mar. 25, 2010
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Noir / Blanc
Est: $600 - $800
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Noir / Blanc 30 x 24 1/4 inches 76.2 x 61.6 centimeters signed, editioned 40/90 and dated 1956 - 1967 Provenance:Private Collection, Vancouver Please note: this work is matted but is unframed.
Heffel
Mar. 25, 2010
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Noir / Blanc
Est: $600 - $800
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Noir / Blanc 27 x 24 1/4 inches 68.6 x 61.6 centimeters signed, editioned 40/90 and dated 1956 - 1967 Provenance:Private Collection, Vancouver Please note: this work is matted but is unframed.
Heffel
Mar. 25, 2010
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Noir / Blanc
Est: $600 - $800
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Noir / Blanc 30 x 24 inches 76.2 x 61 centimeters signed, editioned 40/90 and dated 1956 - 1967 Provenance:Private Collection, Vancouver Please note: this work is matted but is unframed.
Heffel
Mar. 25, 2010
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Black Dominant
Est: $600 - $800
Guido Molinari 1933 - 2004 Canadian silkscreen on paper Black Dominant 21 3/4 x 28 3/4 inches 55.2 x 73 centimeters signed, editioned 40/90 and dated 1956 - 1967 and on verso titled on a Vancouver Art Gallery Art Rental and Sales label verso Provenance:Private Collection, Vancouver Please note: this work is matted but is unframed.
Heffel
Nov. 26, 2009
Guido Molinari 1933 - 2004 Canadian oil on canvas
Est: $10,000 - $15,000
Guido Molinari 1933 - 2004 Canadian oil on canvas Quantificateur bleu "43 x 37 inches 109.2 x 94 centimeters on verso signed, titled on the Heffel Gallery label and dated 12/1991 Provenance:Heffel Gallery Limited, Vancouver Private Collection, Vancouver Exhibited:Heffel Gallery Limited, Guido Molinari, New Paintings, May 9 - 23, 1992 Guido Molinari remains one of Canada's most esteemed hard-edge abstract painters. A leader of the Montreal Plasticiens group, he was also a respected theorist and writer, teaching art and philosophy at Concordia University until 1997. The Quantificateur series, which he began in the mid-1970s and continued with unremitting enthusiasm until the 1990s, is his life's most intricate and thoroughly developed work. The series is an exploration of seriality, a concept that led Molinari to organize vertical coloured bands in ever-varying, yet never-repeating arrangements. Quantificateur bleu is an excellent example of Molinari's most successful and demanding work. Each canvas explores the immeasurable expressiveness of colour; the individual chromatic values are communicative and meaningful in their own right, but only when viewed holistically, arranged with adjacent tones and shades, can their true complexities be fully understood. In Quantificateur bleu, the intensity of Molinari's design creates a meticulous and delightfully challenging problem for the viewer. Although appearing vertical, each line is slanted, testing our preconceived relationships to space and form. "
Heffel
Nov. 26, 2009
Guido Molinari 1933 - 2004 Canadian oil on canvas
Est: $10,000 - $15,000
Guido Molinari 1933 - 2004 Canadian oil on canvas M-3 "8 x 10 inches 20.3 x 25.4 centimeters on verso signed twice, titled on the Heffel Gallery label and dated 1953 and 1954 Provenance:Heffel Gallery Limited, Vancouver Private Collection, Vancouver Exhibited:Heffel Gallery Limited, Four Decades of Art, January 25 - February 11, 1989 Guido Molinari was born in Montreal in 1933. Suffering from tuberculosis as a teenager, he spent his confinement studying great philosophers such as Friedrich Nietzsche, Jean-Paul Sartre and Albert Camus who would later influence not only his approaches to art, but also his own theoretical writing and teaching. He attended the École des beaux-arts and the Montreal Museum of Fine Arts, where he was inspired by the Abstract Expressionists and Montreal's Automatists to begin making his own automatic paintings. He quickly adopted a more regimented approach to their technique, and at the same time set out to destroy the necessary foreground and background of a c mposition. In M-3 we see this goal in progress; by using colours of similar vibrancy, Molinari examines form and shape and how they recede and advance through the composed space. In 1955 Molinari formed the Galerie l'Actuelle, which was the first gallery in Canada dedicated entirely to abstract art, and in 1956 he became a founding member of the Association des artists non-figuratifs de Montréal. "
Heffel
Jun. 05, 2005
Guido Molinari, (Canadian, b. 1933), Derived from Construction 29
Est: $300 - $500
Guido Molinari (Canadian, b. 1933) Derived from Construction 29 color lithograph, edition 31/120 signed 20 x 20 inches.
Hindman