Artist: Cecil King (1921-1986) Title: Untitled Medium: oil on linen Size: 97½ x 92cm (38.4 x 36.2in) Framed Size: 101 x 95.5cm (39.8 x 37.6in) Provenance: David Hendriks Gallery, Dublin (label verso); Private Collection a#morebtn { color: #de1d01; } a#morebtn:hover { cursor: pointer;} Cecil King was already successful as a businessman and art collector when he turned to painting in his 30s, and into his 40s by the time he became a fulltime painter. Quite quickly he had moved towards a distinctive kind of hard-edged abstraction, using flat colour and utilizing, as he said, the met... Read more Cecil King Lot 51 - 'Untitled' Estimate: €3,000 - €5,000 Cecil King was already successful as a businessman and art collector when he turned to painting in his 30s, and into his 40s by the time he became a fulltime painter. Quite quickly he had moved towards a distinctive kind of hard-edged abstraction, using flat colour and utilizing, as he said, the metaphor of tension - as experienced by circus performers and audience and later the divided city of Berlin - to energise his taut, assured compositions. He also met American painter Barnett Newman in the 1960s, a meeting that influenced his approach. As is evident here, he had great feeling for colour, balance and texture. A modest man, he also worked tirelessly for the promotion of modern art in Ireland.
Artist: Cecil King (1921-1986) Title: Untitled Medium: oil on linen Size: 97½ x 92cm (38.4 x 36.2in) Framed Size: 101 x 95.5cm (39.8 x 37.6in) Provenance: David Hendriks Gallery, Dublin (label verso); Private Collection a#morebtn { color: #de1d01; } a#morebtn:hover { cursor: pointer;} Cecil King was already successful as a businessman and art collector when he turned to painting in his 30s, and into his 40s by the time he became a fulltime painter. Quite quickly he had moved towards a distinctive kind of hard-edged abstraction, using flat colour and utilizing, as he said, the met... Read more Cecil King Lot 51 - 'Untitled' Estimate: €3,000 - €5,000 Cecil King was already successful as a businessman and art collector when he turned to painting in his 30s, and into his 40s by the time he became a fulltime painter. Quite quickly he had moved towards a distinctive kind of hard-edged abstraction, using flat colour and utilizing, as he said, the metaphor of tension - as experienced by circus performers and audience and later the divided city of Berlin - to energise his taut, assured compositions. He also met American painter Barnett Newman in the 1960s, a meeting that influenced his approach. As is evident here, he had great feeling for colour, balance and texture. A modest man, he also worked tirelessly for the promotion of modern art in Ireland.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
