Norman Bluhm, American 1921‚Äö√Ñ√¨1999- Two panels from 'Composition¥, 1958; watercolour and ink on paper, (centre) signed, dated and inscribed on the reverse 'Norman Bluhm 1958 centre' (right) signed and dated lower right 'Bluhm 58' and...
Norman Bluhm, American 1921-1999- Two panels from 'Composition', 1958; watercolour and ink on paper, (centre) signed, dated and inscribed on the reverse 'Norman Bluhm 1958 centre' (right) signed and dated lower right 'Bluhm 58' and signed, dated and inscribed 'right' on the reverse, 76 x 56.2 cm (2) (mounted/unframed) Provenance: with Gimpel Fils, London, GF7321 and GF3183 (according to the labels attached to the mount); private collection Note: Norman Bluhm retained a strong interest in gestural abstraction throughout his career, as evident in this piece, which demonstrates his connection to the work of contemporaries such as Jackson Pollock, Franz Kline and Helen Frankenthaler. This lot displays the way in which Bluhm's technique creates a sense of the artist's presence in the production of the artwork, serving to emphasise, rather than obscure, the process of painting itself, creating a sense of immediate and powerful emotion which is such a defining feature of the Abstract Expressionist movement.
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Norman Bluhm, American 1921-1999- Two panels from 'Composition', 1958; watercolour and ink on paper, (centre) signed, dated and inscribed on the reverse 'Norman Bluhm 1958 centre' (right) signed and dated lower right 'Bluhm 58' and signed, dated and inscribed 'right' on the reverse, 76 x 56.2 cm (2) (mounted/unframed) Provenance: with Gimpel Fils, London, GF7321 and GF3183 (according to the labels attached to the mount); private collection Note: Norman Bluhm retained a strong interest in gestural abstraction throughout his career, as evident in this piece, which demonstrates his connection to the work of contemporaries such as Jackson Pollock, Franz Kline and Helen Frankenthaler. This lot displays the way in which Bluhm's technique creates a sense of the artist's presence in the production of the artwork, serving to emphasise, rather than obscure, the process of painting itself, creating a sense of immediate and powerful emotion which is such a defining feature of the Abstract Expressionist movement.
Please refer to department for condition report