- 104
Marcelle Ferron 1924 - 2001
Estimate
15,000 - 25,000 CAD
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Description
- Marcelle Ferron
- ABSTRACT COMPOSITION
- signed and dated lower left FERRON '64; signed and dated on the canvas on the reverse
- oil on paper laid down on canvas
- 65.4 by 50.2 cm.
- 25 ¾ by 19 ¾ in.
Provenance
Private Collection, Montreal
Condition
This work has been viewed under U.V. and it is in very good condition. There are some areas with paint loss and craquelure.
We would like to thank "In Restauro Conservart Inc." for examing this painting and their original notes are available upon request to Sotheby's.
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
As a signatory of the Refus Global (1948), Ferron was a pioneer, along with Borduas and Riopelle, of modern art in Quebec and Canada. She was a powerhouse in the automatiste movement and was associated with non-figurative painting from the early 1950s. In 1953 she moved to Paris and stayed there for thirteen years, becoming an integral part of the international art scene there. The recognition her work received was significant, and one of her major canvases of 1960 (see lot 107) was one of the first purchased for the Peter Stuyvesant collection.