All sales are subject to 888 Auctions’ Terms and Conditions of Sale. Bidding is available by live in-house bidding and absentee. A 20% buyer's premium is added to the hammer price of each lot. PAYMENT BY, BANK DRAFT, CERTIFIED CHEQUE OR WIRE TRANSFER ONLY. The auctioneer and 888 Auctions shall have the right to withdraw any item at any time for any reason and to default any sale in the event of an error or dispute. The auctioneer will also have full discretion to reopen the bidding, cancel the sale or re-offer and resell the property. Should a dispute arise after the auction, our sale record is conclusive.
Oil on canvas, abstract expressionist painting. Signed and attr. Hans Hofmann (German-American, 1880–1966, Weissenberg, Germany, based in Munich, Germany, New York, and Provincetown, Massachusetts). 19.5 x 17.75 inch (49.5 x 45 cm). Hans Hofmann began painting in Paris, where he worked alongside such titans of European Modernism as Pablo Picasso, Georges Braque, Fernand Léger, and Henri Matisse. His best-known early paintings combine Cubist structure with Fauvist color, as in Untitled (1943). Although he would eventually be considered one of the preeminent Abstract Expressionists, having relocated to New York in 1932, Hofmann’s primary interest was in pictorial phenomena: the illusion of three-dimensional space, composition, and the optical effects of color. “It is not the form that dictates color, but the color that brings out the form,” he once said. In the 1950s, Hofmann made his most famous series of paintings, in which he explored the relativity of color, developing his “push-pull” theory and technique by which warm and cool colors interact to produce effects of movement, space, and depth. Perhaps even more influential as a teacher than as an artist, Hofmann counted Helen Frankenthaler, Alfred Jensen, Joan Mitchell, Wolf Kahn, Lee Krasner, Louise Nevelson, and Frank Stella among his many students. PROVENANCE: Private collection (Toronto, ON, Canada)
---以下为第三方软件翻译,仅供参考---
品相报告
All authorship of items in this catalog are described according to the following terms:
By [Artist Name]: In our opinion, the work is by the artist.
Attributed to [Artist Name]: In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name]: In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name]: In our opinion, the work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name]: In our opinion, a work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: In our opinion, a work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century: In our opinion, this work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
Bears signature: In our opinion, the signature on the artwork may be spurious.