Cy Twombly

United States (Lexington 19282011 ) - Artworks Wikipedia® - Cy Twombly
TWOMBLY Cy Untitled

Christie's /Jul 2, 2014
62,546.91 - 87,565.68
123,666.75

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Artworks in Arcadja
701

Some works of Cy Twombly

Extracted between 701 works in the catalog of Arcadja
Cy Twombly - Untitled

Cy Twombly - Untitled

Original 1971
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Lot number: 28
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Description:
Cy Twombly 1928 - 2011 UNTITLED signed and dated 71 on the reverse pencil, oil pastel and watercolour on two pieces of card laid down on board 84.5 by 69.2cm.; 33 1/4 by 27 1/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This work is recorded in the Archives of the Cy Twombly Foundation. Provenance Galleria d'Arte Emilio Mazzoli, Modena Alessandro Grassi, Milan (acquired directly from the above in 1983) Thence by descent to the present owner Literature Achille Bonito Oliva, Collezione Privata, Milan 1993, p. 60, illustrated in colour Following the rococo exuberance of his works from the late fifties and early sixties, which produced numerous pieces based on violent or erotic mythological subjects, in this untitled work, Cy Twombly returns to a more rarefied mode of depiction, shedding all but the most fundamental elements of his style to create a more considered work. In its reconciliation between text and abstractionist mark-making, and its use of eclectic source material, Untitled (1971) is typically Twombly and a prime example of some of the most celebrated aspects of his oeuvre. In keeping with the best works of this period, Untitled is a gestural piece at its core. From the measured drawn out horizontal lines, to the cursive semi-legible header and footer, each mark he makes on the grey ground is inextricably linked to its creation. The mood of this work is dominated by the counterpoint between the horizontal lines that blanket the work in swathed numbness and the spidery snippets of text that snag on their surroundings. However, if these contrasting modes of depiction share one quality, it is that they are action-focussed – their appearance unmistakably reveals the intervention of the artist. Twombly’’s mark “shares with broken branches in the forest or clues left at the scene of the crime the trace of a foreign presence that has intruded into a previously unviolated space” (Rosalind Krauss in: Rosalind Krauss, et al., Art since 1900: Modernism, Antimodernism, Postmodernism: 1945 to the Present, New York 2004, p. 372). Twombly’’s movements are emphatic and deliberate, traits made even more obvious by the soft wash of the translucent grey background, which, by contrast, seems almost entirely devoid of human interference. In the late 1960s, Twombly was exploring a fascination with Leonardo da Vinci’’s theories on the depiction of floods; a preoccupation that undoubtedly informed the sense of a seascape that suffuses this work. Born out of the broad pale strokes of the grey ground, and accentuated in the regularity of the relentless black lines punctuated with the flashes of bright marine blue, the impression of the steady wash of ocean waves is unmistakable in this work. Indeed, these abstractions make a worthy comparison with an excerpt of Leonardo’’s advice from his treaty On a Deluge and its Depiction in Painting (c. 1515-17): “The crests of the waves of the sea tumble to their bases, falling with friction on the bubbles of their sides: and this friction grinds the water into minute particles… and at last it rises into the air and is converted into clouds” (Leonardo da Vinci, 'On a Deluge and Its Depiction in Painting' cited in: Jean-Paul Richter, Ed., The Literary Works of Leonardo da Vinci, Vol. I, London 1939, p. 606). It is entirely possible that Twombly had this very passage in his mind when creating these repeated lines; he often relied on classical and renaissance source material to inspire his work and imbue it with cultural authority. Just like the waves of Leonardo’’s deluge, the horizontal hatchings of Untitled appear both to rise and to fall with at once immutable force, and steady calmness. These undular associations lend a sense of infinite momentum to the work and show Twombly musing on the impact of man – in this case the gestural intervention of the artist – against the unstoppable passage of time. 1971 was a particularly poignant year for Twombly to muse on the passage of time. In the same year Nini Pirandello, the wife of Twombly’’s Roman gallerist and a dear friend, died unexpectedly and inspired the hauntingly elegiac and widely celebrated series, Nini’’ s Paintings. There can be no doubt that, in this context, human mortality in the face of the all-consuming passage of time would have been at the forefront of Twombly’’s mind in the execution of this work and is expressed equally in the short blips of cursive script and the elongated strokes that dominate the composition. Untitled is then a work charged with pathos and inspired by grandiose Renaissance source material, in which Twombly deploys his virtuosic abstract style to create a powerful expression of artistic gesture. Fig. 1 The present work on view at the 5th Cologne Art Fair, Josef - Haubrich Kunsthalle, 1971 Photo: © bpk | Angelika Platen © Cy Twombly Foundation
Cy Twombly - Roman Notes I, From Roman Notes

Cy Twombly - Roman Notes I, From Roman Notes

Original 1970
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Gross Price
Lot number: 117
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Description:
CY TWOMBLY (1928-2011) Roman Notes I, from Roman Notes offset lithograph in colors, 1970, on heavy offset paper, signed and dated in pencil on the reverse, numbered 54/100, published by Neuendorf Verlag, Hamburg, light-staining, otherwise generally in good condition, framed Sheet: 34¼ x 27½ in. (870 x 699 mm.) PROPERTY FROM AN IMPORTANT PRIVATE COLLECTOR Bastian 21
Cy Twombly - Untitled

Cy Twombly - Untitled

Original 1973
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Net Price
Lot number: 291
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Description:
Cy Twombly, Untitled, from 'Hommage a Picasso' (Bastian 41), lithograph and collotype in colours, 1973, on wove, signed with initials in pencil, numbered 61/90 (the total edition was 150, there were also 15 artist's proofs), co-published by Edition Propylaen Verlag and Pantheon-Presse, Berlin and Rome, apparently in very good condition, not examined out of the frame, framed, L.74.9x54.7cm Bastian 41
Cy Twombly - Untitled

Cy Twombly - Untitled

Original 1963
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Gross Price
Lot number: 132
Other WORKS AT AUCTION
Description:
Cy Twombly (1928-2011) Untitled signed and dated 'Cy Twombly 1963' (lower right) graphite and pastel on paper 27 ¾ x 19 ¾in. (70.3 x 50cm.) Executed in 1963 These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Leo Castelli Gallery, New York. Anon. sale, Sotheby's London, 1 July 1982, lot 378. La Tartaruga Galleria d'Arte, Rome. Galerie Änne Abels, Cologne. Anon. sale, Christie's New York, 17 May 2007, lot 220. Acquired at the above sale by the present owner PROPERTY OF A PRIVATE COLLECTOR N. del Roscio (ed.), Cy Twombly, Drawings, Catalogue Raisonné, Vol. 3, 1961-1963, New York 2013, no. 219 (illustrated in colour, p. 159).
Cy Twombly - Untitled

Cy Twombly - Untitled

Original 1955
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Price:

Lot number: 179
Other WORKS AT AUCTION
Description:
Stable Gallery, New York Collection of Eleanor Ward, New York The Pace Gallery, New York Peder Bonnier, New York Private Collection, Belgium Van de Weghe Fine Art, New York Acquired directly from the above by the present owner in 2001 PROPERTY FROM A DISTINGUISHED EUROPEAN PRIVATE COLLECTION Cy Twombly 1928 - 2011 UNTITLED pencil on paper 28 by 35cm.; 11 by 13 3/4 in. Executed in 1955.
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