- 114
Willem De Kooning
Estimate
180,000 - 250,000 USD
bidding is closed
Description
- Willem de Kooning
- Head II
- signed and numbered 5/7
bronze with brown patina
- 14 1/4 by 13 1/2 by 4 1/2 in. 36.2 by 34.3 by 11.4 cm.
- Executed in 1972, this work is number 5 from an edition of 7.
Provenance
Xavier Fourcade, Inc., New York
Private Collection, Germany
Private Collection, London
Exhibited
Minneapolis, Walker Art Center; Ottawa, The National Gallery of Canada; Washington D.C., The Phillips Collection; Buffalo, Albright-Knox Art Gallery; Houston, The Museum of Fine Arts, de Kooning, Drawings, Sculptures, March 1974 - April 1975, no. 145 (another example exhibited)
Pittsburgh, Carnegie Museum of Art, Willem de Kooning, October 1979 - January 1980, cat. no. 122, p. 139, illustrated in color (another example exhibited)
New York, Whitney Museum of American Art; Berlin, Akademie der Kunst; Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Willem de Kooning: Drawings, Paintings, Sculptures, December 1983 - September 1984, cat. no. 274, p. 258, illustrated (another example exhibited)
New York, Matthew Marks Gallery, Willem de Kooning, Sculpture, May - June 1996, cat. no. 20, p. 57, illustrated (another example exhibited)
New York, Matthew Marks Gallery and Mitchell-Innes & Nash, Willem de Kooning: Drawing and Sculpture, October - December 1998, p. 58, illustrated (another example exhibited)
Pittsburgh, Carnegie Museum of Art, Willem de Kooning, October 1979 - January 1980, cat. no. 122, p. 139, illustrated in color (another example exhibited)
New York, Whitney Museum of American Art; Berlin, Akademie der Kunst; Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Willem de Kooning: Drawings, Paintings, Sculptures, December 1983 - September 1984, cat. no. 274, p. 258, illustrated (another example exhibited)
New York, Matthew Marks Gallery, Willem de Kooning, Sculpture, May - June 1996, cat. no. 20, p. 57, illustrated (another example exhibited)
New York, Matthew Marks Gallery and Mitchell-Innes & Nash, Willem de Kooning: Drawing and Sculpture, October - December 1998, p. 58, illustrated (another example exhibited)
Condition
This work is in very good and sound condition overall. The patina is sound and has a vibrant brown luster. There are scattered and unobtrusive spots of oxidation and dust residue. Otherwise, there are no apparent condition problems with this work.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Thus, with merciless fingers - more cruel than any brushstroke or slash of a knife because more direct - de Kooning fondles and violates this mass of clay until all of it has been ripped open, ploughed through, broken up. Inanimate, apathetic matter is struck by life, exasperated by this tortured expression, retaining the markes of obsessing or obsessional thoughts, of an incessantly repeated practice - or quite simply - retaining painterly gestures." Claire Stoullig, "The Sculpture of Willem de Kooning," in Exh. Cat., New York, Whitney Museum of American Art, Willem de Kooning, 1984, pp. 241-242.