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.
Bottle sculpture, painted in gesso and mixed media. Signed and attr. Cy Twombly (American, 1928-2011). Since 1946 Twombly has fashioned sculptures from everyday materials and objects, usually painted with white gesso. In 1979 he began casting some of them in bronze, thus unifying, preserving, and transforming them into cohesive wholes, independent from the original bricolages. The surface and patina of these cast bronzes evoke weathered artifacts that have been exhumed from the earth, an effect that is heightened in those that have been coated in white oil paint. Some of these sculptures contain allusions to the static, closed forms of Egyptian and Mesopotamian sculpture, as well as to other architectural and geometric references such as the repetition of rectangular pedestals and circular structures. Others refer to historical representations such as Untitled (The Mathematical Dream of Ashurbanipal) (2000-2009), an allusion to the scholarly Assyrian king whose military prowess was the subject of a rival king's dream in which his eventual submission to Assyria was predicted. While the components of these sculptures have been partially merged and abstracted by the casting process, in works such as Untitled (2004-2009) a progression of precariously balanced objects is clearly demarcated, in this case a broom inside a funnel that rests on a cylindrical pedestal. Twombly's continued play between fragility and obduracy, figuration and abstraction, ancient and modern imbues each work with its characteristic tension. Born in 1928 in Lexington, VA, Cy Twombly studied art at the School of the Museum of Fine Arts, Boston (1947-49); the Art Students League, New York (1950-51); and Black Mountain College, NC (1951-52). In the mid 1950s, following travels in Europe and Africa, he emerged as a prominent figure among a group of artists working in New York that included Robert Rauschenberg and Jasper Johns. In 1959, Twombly settled permanently in Italy. In 1968, the Milwaukee Art Center mounted his first retrospective. This was followed by major retrospectives at the Kunsthaus Zürich (1987) travelling to Madrid, London and Paris; the Museum of Modern Art, New York (1994) (travelling to Houston, Los Angeles, and Berlin) and the Pinakothek der Moderne in Munich (2006). In 1995, the Cy Twombly Gallery opened at The Menil Collection, Houston, exhibiting works made by the artist since 1954. The European retrospective "Cy Twombly: Cycles and Seasons" opened at the Tate Modern, London in June 2008, with subsequent versions at the Guggenheim Bilbao and the Museum of Modern Art in Rome in 2009. PROVENANCE: Private collection (Toronto, ON)
---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.