- 101
ROBERT LONGO | Study for North Cathedral
估價
20,000 - 30,000 EUR
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招標截止
描述
- Robert Longo
- Study for North Cathedral
- signed, dated 09 and titled
- charcoal on tracing paper
- 46 x 60,9 cm ; 18 1/8 x 24 in.
- Executed in 2009.
來源
Galerie Daniel Templon, Paris
Acquired from the above by the present owner in 2010
Acquired from the above by the present owner in 2010
Condition
This work was inspected framed. The paper is attached verso to the backing board. 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
COLLECTION FRANCES Nous n’avons pas décidé de créer une collection. C’est elle qui s’est invitée. Comme un enfant dans votre vie, un amour subit, une amitié inattendue.
Nous ne nous sommes jamais reconnus dans les termes habituels d’une collection. Les mots qui entourent une collection sont souvent ceux de l’immobilisme : il faut accrocher une œuvre, un tableau s’enferme dans un cadre, une photographie est un moment figé. Dans notre cas, c’est le mouvement qui a construit nos choix. Nous n’avons acquis que des œuvres qui savaient nous transporter, nous chahuter, nous agiter, nous bousculer.
Chacune à sa manière nous a davantage possédés que nous ne l’avons possédée. Nous n’avons jamais eu d’autres envies que de leur offrir du mouvement, en les prêtant à des musées, en les exposant dans des lieux insolites, en les emmenant rencontrer d’autres sensibilités. Et c’est ainsi qu’est née l’idée de notre Fondation. Pour partager, créer de nouvelles rencontres, éveiller des curiosités, susciter des dialogues.
Nous réfutons l’idée qu’une collection soit une soustraction aux regards des autres. Collectionner ce n’est pas confisquer. Collectionner c’est soutenir un artiste vivant et c’est savoir rendre vivantes ses œuvres auprès de multiples publics, aguerris ou profanes.
Aujourd’hui, nous libérons, pour la première fois, quelques oeuvres de notre collection. Pour nous permettre de prolonger l’action autonome et indépendante de notre Fondation.
Ce serait un leurre de croire que ces œuvres vont nous quitter. Certes, elles seront éloignées de nous mais elles resteront en nous. L’affection nouvelle qui leur sera portée ne réduira pas la nôtre, elle l’amplifiera.
We did not decide to put together a collection. It invited itself into our lives, like a child or an unexpected friendship would or even like love at first sight.
We never recognized ourselves in the usual wording used regarding an art collection. The semantic field of a collection usually gathers words that belong to the concept immobility: a work needs to be hung, a painting is enclosed in a frame, a photograph is a moment frozen in time. In our case, movement has been central to making a choice. We only acquired works that transported us, shook us, agitated us, threw us off.
Each piece in its own way has had a stronger hold of us than we ever did. All we ever wanted was for them to be in motion: we lent them to museums, exhibited them in unusual venues, took them to meet other personalities. That is how the idea for a Foundation was born. We wanted to share, create new encounters, awaken curiosity and ignite conversations.
We do not believe a collection takes works away from the public eye. To collect is not to confiscate. To collect is to support a living artist and to make his works alive to the eyes of a multitude of publics, whether they be seasoned collectors or amateurs.
Today, we are freeing few works from our collection to extend the autonomous and independent action of our Foundation.
It would be misleading to think these works would ever leave us completely. They will, in fact, be physically far from us, but they will always remain with us. The renewed affection they will receive will not decreases ours, but rather it will make it even greater.
Estelle et Hervé Francès
Nous ne nous sommes jamais reconnus dans les termes habituels d’une collection. Les mots qui entourent une collection sont souvent ceux de l’immobilisme : il faut accrocher une œuvre, un tableau s’enferme dans un cadre, une photographie est un moment figé. Dans notre cas, c’est le mouvement qui a construit nos choix. Nous n’avons acquis que des œuvres qui savaient nous transporter, nous chahuter, nous agiter, nous bousculer.
Chacune à sa manière nous a davantage possédés que nous ne l’avons possédée. Nous n’avons jamais eu d’autres envies que de leur offrir du mouvement, en les prêtant à des musées, en les exposant dans des lieux insolites, en les emmenant rencontrer d’autres sensibilités. Et c’est ainsi qu’est née l’idée de notre Fondation. Pour partager, créer de nouvelles rencontres, éveiller des curiosités, susciter des dialogues.
Nous réfutons l’idée qu’une collection soit une soustraction aux regards des autres. Collectionner ce n’est pas confisquer. Collectionner c’est soutenir un artiste vivant et c’est savoir rendre vivantes ses œuvres auprès de multiples publics, aguerris ou profanes.
Aujourd’hui, nous libérons, pour la première fois, quelques oeuvres de notre collection. Pour nous permettre de prolonger l’action autonome et indépendante de notre Fondation.
Ce serait un leurre de croire que ces œuvres vont nous quitter. Certes, elles seront éloignées de nous mais elles resteront en nous. L’affection nouvelle qui leur sera portée ne réduira pas la nôtre, elle l’amplifiera.
We did not decide to put together a collection. It invited itself into our lives, like a child or an unexpected friendship would or even like love at first sight.
We never recognized ourselves in the usual wording used regarding an art collection. The semantic field of a collection usually gathers words that belong to the concept immobility: a work needs to be hung, a painting is enclosed in a frame, a photograph is a moment frozen in time. In our case, movement has been central to making a choice. We only acquired works that transported us, shook us, agitated us, threw us off.
Each piece in its own way has had a stronger hold of us than we ever did. All we ever wanted was for them to be in motion: we lent them to museums, exhibited them in unusual venues, took them to meet other personalities. That is how the idea for a Foundation was born. We wanted to share, create new encounters, awaken curiosity and ignite conversations.
We do not believe a collection takes works away from the public eye. To collect is not to confiscate. To collect is to support a living artist and to make his works alive to the eyes of a multitude of publics, whether they be seasoned collectors or amateurs.
Today, we are freeing few works from our collection to extend the autonomous and independent action of our Foundation.
It would be misleading to think these works would ever leave us completely. They will, in fact, be physically far from us, but they will always remain with us. The renewed affection they will receive will not decreases ours, but rather it will make it even greater.
Estelle et Hervé Francès