Naum Gabo (1890-1977)
Naum Gabo (1890-1977)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more MORNING SESSION
Naum Gabo (1890-1977)

Untitled, from: Opus 3

Naum Gabo (1890-1977)
Untitled, from: Opus 3
monotype in brown from an engraved cherrywood woodblock, 1950, on tissue-thin Japan paper, signed and dated 30 May 1950 in pencil, the sheet with pale time and mount staining, otherwise in good condition; together with Untitled, from: Opus Eleven, monotype in brown from an engraved woodblock, circa 1965-68, on tissue-thin Japan paper, signed and inscribed For Norman affectionately gabo in pencil, with the extreme sheet corners detached from their mount, otherwise in good condition
Sheet: 283 x 205 mm. (and smaller)
A gift from the artist to the present owner's father, Sir Norman Reid.
Williams p. 55 and 64
Special notice
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.
Further details
When first instructed in the art of printmaking in 1950 by his friend and fellow artist, Bill Irvin, Naum Gabo discovered an unexpected relationship between the carving of a woodblock and his own renowned sculptural medium.

Sir Norman Reid was a close friend of Gabo’s, having first met him shortly after he was appointed as the Director of the Tate in 1964. He described Gabo’s exploration into printmaking to be “like that of a bassoon player who takes up the flute- there is a certain freshness and delight in exploring new territory.”

The term Monoprint (monotype) ‘is used to describe Gabo’s prints; uninterested in multiplying his works, Gabo experimented with colour variants of many images, however each one remains a unique impression. Similar to Gabo’s sculptural masterpieces, his monoprints seek to explore the shape itself and its space on the page. He makes an attempt to draw comparisons with familiar objects, only to coerce the eye around the linear shapes and explore their subdued rhythms.

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