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PROPERTY FROM THE COLLECTION OF ARTHUR & GIGI LAZARUS, WASHINGTON, D.C.

Sam Gilliam
WITH CRIMSON
估價
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Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
600,000800,000
拍品已售 1,004,000 美元 成交價 (含買家佣金)
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112

PROPERTY FROM THE COLLECTION OF ARTHUR & GIGI LAZARUS, WASHINGTON, D.C.

Sam Gilliam
WITH CRIMSON
估價
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
600,000800,000
拍品已售 1,004,000 美元 成交價 (含買家佣金)
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拍品詳情

Contemporary Art Day Auction

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Sam Gilliam
生於1933年
WITH CRIMSON
signed on the overlap; titled and dated 1970 on the stretcher
acrylic on beveled edge canvas
45 1/2 by 70 in. 115.6 by 177.8 cm.
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來源

Jefferson Place Gallery, Washington, D.C.
Acquired from the above by the present owner in January 1971

相關資料

“My work consists of solids and veils...it is constructed painting, in that it crosses the void between object and viewer, to be part of the space in front of the picture plane. It represents an act of pure passage.”
Sam Gilliam

Executed in 1970, amidst a time of intense experimentation and global artistic innovation, Sam Gilliam’s With Crimson is a prismatic example of the artist’s highly coveted beveled edge canvases. Gilliam pushed the genre of Color Field painting forward as an influential leader of the Washington Color School. With Crimson embodies the very best of Gilliam’s extraordinarily colorful abstractions created using his pioneering painting technique which upended centuries of conventional practices. The exploding rays of vibrant jewel tones are anchored by rich crimson, for which the painting is titled, and by force invites the viewer into the otherworldly cosmos of color. Overflowing with a kaleidoscopic frenzy of Day-Glo highlights and secondary shades of blue, where these colors coalesce, they form deep pools of gradient pigment that dissolve into one another producing a dynamic sense of painterly activity. Warm tones emanate from the heart of the canvas in a spread of sunset orange and ruby red crimson, while cooler tendrils of violet and shards of teal cut through the surface of the work, fanning out into a polychrome topography.

With Crimson has remained in the prominent collection of Arthur and Gigi Lazarus for nearly 50 years. Indeed, the Lazarus family acquired With Crimson in 1971 from Jefferson Place Gallery in Washington, D.C., a cooperative gallery that promoted emerging artists of the Washington Color School, including Kenneth Noland, Gene Davis, Howard Mehring and, of course, Sam Gilliam. Nesta Dorrance, who ran the gallery from 1961 until its closing in 1974, was instrumental in launching Gilliam’s career on an international level. Just two years after the present work was painted, Gilliam would go on to represent the United States at the Venice Biennale, having the distinction of being the first African American artist to ever do so.

Gilliam’s many contributions to the art historical canon include his innovative process. First, he soaked an unprimed canvas in a diluted mixture of acrylic paint which he would then fold and twist onto itself. Gilliam would then suspend the saturated canvas overnight, leaving the paint to soak, mingle, stain and spread under the natural gravitational pull. Returning to the canvas the following morning, Gilliam would then sponge, daub, splatter and further fold or roll the canvas in order to unearth unexpected geometries and combinations. This carefully calculated yet fortuitous choreography becomes recorded on the surface of the finished product, much in the same way Jackson Pollock’s dynamic drips and daubs traced his dance-like circumlocution around the studio.

Measuring nearly six feet across, With Crimson is expansive and sculptural. Gilliam here has created an object overflowing with contradictions that wrestle on the surface: the canvas is both dense with architectural blocks of color yet appears airy and seemingly weightless. Interested in breaking down the traditional distinctions between painting, architecture and sculpture, Gilliam's final tool to blur these rigid distinctions was to implement the use of beveled edged stretchers, which give the impression that a painting is emerging three-dimensionally from the wall as an object of weight and substance. 

Radiating an inner glow, Gilliam’s With Crimson elevates the sensory potential of color, depth and form. Through his groundbreaking process of creation, Gilliam makes paint luminous, combining a myriad of finishes and pigments with sophisticated color transitions on a sculptural surface, all of which mimic the qualities of light and shadow.

Contemporary Art Day Auction

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