- 31
Constant
估價
100,000 - 150,000 EUR
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招標截止
描述
- Constant
- Masque africain
- signé; signé au dos et daté 1949 sur le châssis
- huile sur toile
- 40,5 x 50 cm; 19 15/16 x 19 11/16 in.
來源
Gallery Lasés, Paris
Acquis auprès de celle-ci par le propriétaire actuel, 1999
Acquis auprès de celle-ci par le propriétaire actuel, 1999
Condition
The colours are fairly accurate in the catalogue illustration.
The work is executed on its original canvas and it is not relined.
A very few thin cracks, mainly to the white impasto, are only visible under very close inspection.
Probably due to previous mounting, a light abrasion along the edges and especially at the extremity of each of the four corners is only visible under close inspection.
A minor loss of paint (approx. 0,3 cm) located 22,5 cm from the upper edge and 24 cm from the left edge is only visible under very close inspection.
Under UV light, there is no evidence of any retouching.
This work is in very good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
Figure, Cameroun, Bamum, Paris, collection Pierre Harter © D.R.
En 1949, l'année où il peint Masque africain, Constant est le rédacteur néerlandais du premier numéro de la revue CoBrA. A l'instar des autres membres fondateurs du mouvement, Appel, Jorn et Alechinsky, à la suite des avant-gardes fauves, cubistes et surréalistes de la première moitié du XXe siècle, Constant est frappé par le primitivisme expressif et symbolique des cultures non-occidentales. E, 1949, à l'occasion de la première exposition CoBrA au Stedelijk Museum à Amsterdam, le poète Dotremont prononça un discours qui fit aussi scandale que sensation : « Comme les savants soviétiques cherchaient les traces antiques des civilisations chwaresmiennes, les artistes expérimentaux que nous avons assemblés cherchaient les traces profondes de l'homme, les traces que le sable du désert formaliste a effacés » (cité in Michel Ragon, Karel Appel, Paris, 1988, p.294).
En 1949, l'année où il peint Masque africain, Constant est le rédacteur néerlandais du premier numéro de la revue CoBrA. A l'instar des autres membres fondateurs du mouvement, Appel, Jorn et Alechinsky, à la suite des avant-gardes fauves, cubistes et surréalistes de la première moitié du XXe siècle, Constant est frappé par le primitivisme expressif et symbolique des cultures non-occidentales. E, 1949, à l'occasion de la première exposition CoBrA au Stedelijk Museum à Amsterdam, le poète Dotremont prononça un discours qui fit aussi scandale que sensation : « Comme les savants soviétiques cherchaient les traces antiques des civilisations chwaresmiennes, les artistes expérimentaux que nous avons assemblés cherchaient les traces profondes de l'homme, les traces que le sable du désert formaliste a effacés » (cité in Michel Ragon, Karel Appel, Paris, 1988, p.294).