SIR TERRY FROST, R.A. (1915-2003)
SIR TERRY FROST, R.A. (1915-2003)
SIR TERRY FROST, R.A. (1915-2003)
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Artist's Resale Right ("Droit de Suite"). Artist's… 顯示更多
SIR TERRY FROST, R.A. (1915-2003)

White Wedge

細節
SIR TERRY FROST, R.A. (1915-2003)
White Wedge
signed, inscribed and dated 'White Wedge/C59/Terry Frost' (on the reverse)
oil on canvas
48 x 48 in. (122 x 122 cm.)
Painted in 1959.
來源
with Austin/Desmond Fine Art, London, where acquired by Robert Devereux in July 2004.
His sale; Sotheby's, London, 3 November 2010, lot 35, where purchased by the present owner.
注意事項
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

榮譽呈獻

Alice Murray
Alice Murray Head of Evening Sale

拍品專文

Painted in 1959, White Wedge is an assured example of Terry Frost’s growing confidence in the late 1950s at a time when his international reputation was on the rise. The friends Frost made, including Victor Pasmore and Roger Hilton, and the influences he received, assisting Barbara Hepworth and Ben Nicholson, led him in the direction of abstraction. However, rather than foregrounding either colour, form, or facture, he made these formal elements interact to form a composite and loosely evocative abstraction using wedge and half-circle shapes to divide the painted canvas.

Frost devised, as in his work earlier in the decade, a way to both suggest figuration whilst still remaining ostensibly abstract. The reduction of the palette and rough appearance of the painted surface in the paintings of 1959 and 1960 showcase Frost’s ability to render spatial and synesthetic sensations, both associative and tactile. White Wedge reflects this practice, the browns and neutral greys and visible brushstrokes evoking the Cornish landscape in which the artist was working.

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