Beschrijving
Signed and dated 1966-67 in pencil (lower right). Embossed print. Provenance: Art Affairs, Amsterdam, acquired in 2002. From the beginning, elementary research has characterized Ewerdt Hilgemann’s work. After experiments with subtle, white wooden wall pieces catching light in the 1960s, he turned into a conceptual sculptor, using natural stone, as well as steel, geometrical shapes in series: positive versus negative.
In 1980 he introduced randomness and natural powers beyond his control into his working method. Much to his surprise, he found that also the unpredictable is subject to natural laws, to which he soon could adapt and anticipate. (Source: Artist’s website)
Details
- Databanknummer:
- 79784
- Lotnummer:
- -
- Advertentietype
- Archief
- Instelling:
- Venduehuis Den Haag
- Veilingdatum:
- -
- Veilingnummer:
- -
- Stad
- -
- Limietprijs
- -
- Aankoopprijs
- -
- Verkoopprijs
- -
- Hamerprijs
- -
- Status
- Verkocht
Technische details
- Kunstvorm:
- Grafische kunst
- Technieken:
- Preegdruk
- Dragers:
- Papier
- Lengte:
- 46 cm
- Breedte:
- 46 cm
- Hoogte:
- -
- Oplage:
- onbekend
Beschrijving
Signed and dated 1966-67 in pencil (lower right). Embossed print. Provenance: Art Affairs, Amsterdam, acquired in 2002. From the beginning, elementary research has characterized Ewerdt Hilgemann’s work. After experiments with subtle, white wooden wall pieces catching light in the 1960s, he turned into a conceptual sculptor, using natural stone, as well as steel, geometrical shapes in series: positive versus negative.
In 1980 he introduced randomness and natural powers beyond his control into his working method. Much to his surprise, he found that also the unpredictable is subject to natural laws, to which he soon could adapt and anticipate. (Source: Artist’s website)
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