拍品 128
  • 128

Dame Barbara Hepworth

估價
30,000 - 50,000 GBP
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招標截止

描述

  • Barbara Hepworth
  • Marble Form
  • signed and dated 1963; further signed, titled, dated and inscribed on the reverse
  • oil and pencil on board
  • 45.5 by 66cm., 18 by 26in.

來源

Mr and Mrs H. Davidson
Private Collection, U.S.A.

展覽

Zurich, Gimpel-Hanover Galerie, Barbara Hepworth: Sculpture and Drawings, 16th November 1963 - 11th January 1964 (drawings not listed);
London, Gimpel Fils, Barbara Hepworth: Sculpture and Drawings, 2nd - 27th June 1964 (drawings not listed);
Toronto, Art Gallery of Toronto, Focus on Drawings, 15th October -  7th November 1965, cat. no.117. 

Condition

Stable board. There are very minor, tiny scuffs to the top two and bottom left corners, with further very minor nicks to the extreme edges. There is a small area of rubbing in the extreme bottom right hand corner. There is minor flattening to one or two of the raised elements of impasto, This excepting the work appears to be in very good overall condition. Ultraviolet light reveals an area of flourescence and retouching to the top right extreme edge and a further, smaller spot to the top right hand extreme edge. There are further areas of flourescence which appear in keeping with the nature of the materials and does not suggest retouching. Housed in a thick black wooden frame, tightly float-mounted.
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拍品資料及來源

The present work is recorded as no.D465 in the unpublished catalogue of the Artist's drawings and paintings.

We are grateful to Dr. Sophie Bowness for her kind assistance with the cataloguing apparatus for the present work.

It was after her move to St Ives with her then husband Ben Nicholson, before the outbreak of war in 1939, that Hepworth began to explore within a two-dimensional field, creating delicately worked and carefully ruled pencil drawings that were not affected by the same wartime constraints as the possibilities of sculpture.  These early drawings differed from the working sketches for planned sculptures that the artist would execute speedily on scraps of paper and card and were in their own right carefully considered developments of the artist’s ideas towards the broader themes of space, colour and form.  As Hepworth herself identified “I do spend whole periods of time entirely in drawing (or painting, as I use colour) when I search for forms and rhythms and curvatures for my own satisfaction.  These drawings I call ‘drawings for sculpture’, but it is in a general sense – that is – out of the drawings springs a general influence” (‘Approach to Sculpture’; Studio, Vol.132, no.643, Oct. 1946, p.101, cited in Barbara Hepworth, Tate, London, 2001, p.79).

 

By the 1960s these ‘drawings’ had developed in terms of colour and line, and the interplay and overlap between the two serves to conjure up a rich sense of free-flowing visual and kinetic energy.  Over the gesso-prepared board the artist applies thinly washed planes of sandy yellow, rich orange, mint green and marine blues, with bold intersecting pencil lines and parabolic curves reminiscent of the stringing that she had first introduced in the late 1930s; referencing both the Constructivist Naum Gabo and her British contemporary Henry Moore.