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Current bid: $1,700 CAD
Bidding History
Paddle # Date Amount

24436 29-Oct-2020 05:13:05 PM $1,700 AutoBid

30217 29-Oct-2020 05:13:05 PM $1,600

24436 15-Oct-2020 11:33:20 PM $1,500 AutoBid

LOT 407

1933 - 2004

Sans titre (Structure)
serigraph on paper, 1956 - 1991
signed with the estate stamp and embossed with the Fondation Guido Molinari blindstamp and on verso inscribed "G.M.-S37-h-17"
24 1/4 x 29 1/2 in, 61.6 x 74.9 cm

Estimate: $2,000 - $3,000

Sold for: $2,125

Preview at: Heffel Montreal

Guido Molinari Foundation

Consignor proceeds from the sale of this Lot will benefit the Guido Molinari Foundation.

Please note: this work is unframed.

Please note this work was printed in 1991 based on the original painting completed in 1956.

Guido Molinari was a talented painter, draftsman, and poet. He also had an interest in silkscreen printing and utilized the medium sporadically for more than 35 years. During this time, he completed close to 100 different images, which sum up his entire artistic career.

Early on in his career, beginning in 1965, he discovered what this discipline could add to his pictorial and graphic works, particularly his works in black and white. His minimalist 1956 canvases, which at the time constituted a miracle of lucidity and radicalism in the history of modern painting, as well as his energetic Calligraphies, which were shown at Galerie Artek, experienced a second life in Molinari’s silkscreen studio in 1967.

That same year, in order to produce work for the master printer Ronald Perrault, Molinari conceived the idea of an album of prints in collaboration several of his most illustrious contemporaries. This project never saw the light of day, but several woodblocks which remain, produced alongside Paterson Ewen, Jacques Hurtubise, Roy Kiyooka, Jean McEwen, and Mario Merola, make us wish it had…

Guido Molinari était d’abord un peintre, un dessinateur et un poète, mais il s’est aussi intéressé à la sérigraphie qu’il a pratiquée d’une manière sporadique pendant plus de trente-cinq ans, réalisant une bonne centaine d’images différentes qui résument subtilement l’ensemble de sa démarche.

Très tôt, à partir de 1965, il a pressenti tout ce que cette discipline intimiste pouvait apporter à son travail pictural et graphique, notamment à ses œuvres en noir et blanc, qu’il s’agisse de ses toiles minimalistes de 1956, qui constituaient à l’époque une sorte de miracle de lucidité et de radicalisme dans l’histoire de la peinture moderne, ou de ses énergiques Calligraphies qui furent présentées deux ans plus tard à la Galerie Artek. Les unes et les autres connurent une deuxième vie, en 1967, dans l’atelier de sérigraphie de Molinari.

La même année, pour faire travailler le maître-imprimeur Ronald Perrault, Molinari eut l’idée de produire un album collectif d’estampes avec des images de quelques-uns de ses plus illustres contemporains. Ce généreux projet ne vit pas le jour, mais il nous reste quelques planches de Paterson Ewen, Jacques Hurtubise, Roy Kiyooka, Jean McEwen et Mario Merola, qui nous font regretter la chose…

Written by Gilles Daigneault, Director of the Fondation Guido Molinari

All prices are in Canadian Dollars

Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business.