- 99
Jacques Godefroy de Tonnancour 1917 - 2005
Estimate
6,000 - 8,000 CAD
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Description
- Jacques Godefroy De Tonnancour
- LES SIGNES DOMAGE
- signed, titled and dated on the reverse: JACQUES DE TONNANCOUR, LES SIGNES DOMAGE, 1969
mixed media and collage on wood
- 152.4 by 152.4 cm. 60 by 60 in.
Provenance
Private Collection, Toronto
Condition
This work is in excellent condition. There is a small scuff 7 inches from the top in the centre of the panel, but may be intentional texture from the artist's studio. In the lower left there are two miniscule drops of what appears to be white housepaint, which can be easily removed.
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
De Tonnancour's early works were of the Laurentian landscapes, but by the early 1960's, influenced by his friends Pellan and Borduas, he evolved towards abstraction. He went on to do completely non-objective built-up relief panels in single colour fields of red, grey or ochre.