拍品 222
  • 222

WILLEM DE KOONING | Untitled

估價
250,000 - 350,000 USD
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招標截止

描述

  • 威廉·德庫寧
  • Untitled
  • signed
  • oil on paper mounted to canvas
  • 40 1/8 by 26 1/4 in. 101.9 by 66.7 cm.
  • Executed circa 1969.

來源

Collection of Elaine de Kooning, New York (acquired directly from the artist)
Private Collection, New York (acquired from the above)
Private Collection, New York
James Goodman Gallery, New York
Waddington Galleries, London
Acquired from the above by the present owner in December 2004

出版

Waddington Galleries, Paintings, Sculpture and Works on Paper, London 2004, cat. no. 34, p. 75, illustrated in color

Condition

This work is in very good condition overall. There is evidence of aging and slight discoloration to the paper, most noticeable along the edges, which are taped. Under close inspection, scattered unobtrusive light brown spot accretions are visible along the upper lateral edges, likely inherent to stray adhesive. There are oil stains to the sheet around the painted areas and drying bubbles throughout, inherent to the artist’s working method and chosen medium. The colors are bright, fresh and clean. Under Ultraviolet light inspection, there is no evidence of restoration. Framed.
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.

拍品資料及來源

"The indeterminate contours and slashing shorthand push the figures de Kooning painted in the second half of the 1960s into abstraction and vice versa. The figure is dared into existence. The body of the seated, splayed-legged woman...is so marginally delineated that it all but becomes a negative space. Her legs dissolve, her arms are almost impossible to locate...Some of the primal ambiguities and ferocity of Woman I rise to the surface."
Klaus Kertess in Exh. Cat., Kunstmuseum Basel, de Kooning, Paintings 1960-1980, 2005, p. 56