Sam Gilliam Topper Carew
The American Table: Works from the Collection of Barbara & Daniel Fendrick, Washington D.C.
Sam Gilliam
1933 - 2022
Topper Carew
signed, titled and dated'72 twice (on the reverse); titled and dated '72 (on the overlap)
acrylic on beveled edge canvas
61 ¼ by 58 in.
155.6 by 147.3 cm.
Executed in 1972.
Condition Report:
This work is in very good condition overall. The colors are bright, fresh and clean. All scattered drips, splashes, sprays and scattered stray media to the surface are inherent to the artist's working method and chosen media. In the areas of thicker impasto along the lower edge, most notably within the lilac and dark grey pigment which have been applied inconsistently, there are skips and a few scattered cracks which appear to be consistent with the artist's working method and chosen medium. The canvas appears slightly slack on the stretcher. Under ultraviolet light inspection, the surface fluoresces irregularly and there is no evidence of restoration. Unframed.
Provenance:
Acquired directly from the artist in 1975 by the present owner
Bid on this lot
The American Table: Works from the Collection of Barbara & Daniel Fendrick, Washington D.C.
Sam Gilliam
1933 - 2022
Topper Carew
signed, titled and dated'72 twice (on the reverse); titled and dated '72 (on the overlap)
acrylic on beveled edge canvas
61 ¼ by 58 in.
155.6 by 147.3 cm.
Executed in 1972.
Condition Report:
This work is in very good condition overall. The colors are bright, fresh and clean. All scattered drips, splashes, sprays and scattered stray media to the surface are inherent to the artist's working method and chosen media. In the areas of thicker impasto along the lower edge, most notably within the lilac and dark grey pigment which have been applied inconsistently, there are skips and a few scattered cracks which appear to be consistent with the artist's working method and chosen medium. The canvas appears slightly slack on the stretcher. Under ultraviolet light inspection, the surface fluoresces irregularly and there is no evidence of restoration. Unframed.
Provenance:
Acquired directly from the artist in 1975 by the present owner
