Details

Provenance

Nancy Hoffman Gallery, New York Sarah Campbell Blaffer Foundation, Houston (acquired from the above in May 1976) Nancy Hoffman Gallery, New York Acquired from the above by the present owner in March 1979

Exhibited

New York, The Whitney Museum of American Art, 1953 Annual Exhibition of Contemporary American Painting , October - December 1953, cat. no. 139, illustrated (titled as Day Round ) New York, Charles Egan Gallery, Jack Tworkov: Paintings and Drawings 1951-1954, March - April 1954 Minneapolis Institute of Arts, 1945-1957: 146 Pictures Representing Outstanding Achievement Or Promise by American Artists of the Post-War Era , June - September 1957, cat. no. 135 Milwaukee Art Center; Tokyo, Bridgestone Gallery; Honolulu Academy of Arts; London, Royal Academy of Arts; Athens, Zappeion; Rome, Palazzo Venezia; Munich, Haus der Kunst; Monte Carlo, Salons Perves; Berlin, Kongrehalle; Copenhagen, Kunsthal Charlottenborg; Stockholm, Liljevalchs Konsthall; Milan, Civico Padiglione d’Arte Contemporanea; Brussels, Palais des Beaux-Arts; Dublin, Municipal Gallery of Art; Madrid, Casa del Buen Retiro; Kunstmuseum Lucerne; Musee d’Art Moderne de la Ville de Paris; Vienna, Akademie der bildenden Kunste; Washington, D.C., Corcoran Gallery of Art; Philadelphia Museum of Art; New York, Whitney Museum of American Art; Providence, Rhode Island School of Design, Museum of Art; Boston, Museum of Fine Arts; Detroit Institute of Arts; Minneapolis Institute of Arts; University of Illinois at Urbana-Champaign, Krannert Art Museum; City Art Museum of St. Louis; Cincinnati Art Museum; Omaha, Joslyn Art Museum; Denver Art Museum; Seattle Art Museum; Fresno State College; Fine Arts Gallery of San Diego; Fort Worth Art Center; Des Moines Art Center; Nashville, Tennessee Fine Arts Center at Cheekwood; Birmingham Museum of Art; Wichita Art Museum; Ithaca, Cornell University, Andrew Dickson White Museum of Art; Coral Gables, University of Miami, Joe and Emily Lowe Art Gallery; Columbia Museum of Art; Mexico City, Museo de Arte Moderno; Toronto, O’Keefe Centre, USA: NOW , November 1962 - October 1967, p. 92, fig. 2, illustrated New York, The Whitney Museum of American Art, Jack Tworkov: A Retrospective Exhibition , March - May 1964 , no. 21, illustrated New York, The Pace Gallery, Selected American Painters of the 1950's , February - April 1974 Glasgow, Third Eye Centre, Jack Tworkov: Paintings 1950-78 , May - June 1979, cat. no. 2, p. 30, illustrated in color

Literature

Lawrence Campbell, “Reviews and Previews: Jack Tworkov (Charles Egan Gallery)," Art News 53, April 1954, p. 42 Exh. Cat., Philadelphia, Pennsylvania Academy of the Fine Arts, Jack Tworkov: Paintings, 1928-1982 , January - April 1987, cat. no. 21, n.p., illustrated Condition This work is in very good condition overall. The edges of the canvas are taped. There is evidence of wear and handling along the edges, particularly along the top edge, including some hairline craquelure at the pull margins with associated minor spots of loss. The colors are fresh and clean. Under close inspection, a brown handling mark is visible in the upper right and there are scattered faint and unobtrusive areas of hairline craquelure visible. Under raking light, a few minor and unobtrusive surface abrasions are visible at the lower center of the canvas. The canvas has been re-lined. Under Ultraviolet light inspection, there is a thin line that fluoresces along the top and upper right edges of the canvas, and there is a ½-inch spot at the center near the top edge that fluoresces darkly and appears to have benefited from light retouching. Framed. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE. Catalogue Note "All his painting have deliberate structure (yet never in so obvious a fashion that one could put one's finger on it), but in these later paintings one is more aware of the divisions, especially in Dayround and Daybreak , painted to be seen as a pair, in which there are important empty areas and the tenanted parts are occupied by complexes of struggling figures which come up to the surface through the shimmering whites. These beautiful paintings escape like butterflies from words of definition and analysis. It is not just their superior execution—and his paintings stand out for this quality in any surroundings. Surrounded by them one feels in the presence of living, breathing things which open and shut to reveal and hide their secrets. Lawrence Campbell, “Reviews and Previews: Jack Tworkov (Charles Egan Gallery)," Art News 53, April 1954, p. 42

Catalog summary

Jack Tworkov Dayround oil on canvas 79 by 69 in. 200.7 by 175.3 cm. Provenance Nancy Hoffman Gallery, New York Sarah Campbell Blaffer Foundation, Houston (acquired from the above in May 1976) Nancy Hoffman Gallery, New York Acquired from the above by the present owner in March 1979 Exhibited New York, The Whitney Museum of American Art, 1953 Annual Exhibition of Contemporary American Painting , October - December 1953, cat. no. 139, illustrated (titled as Day Round ) New York, Charles Egan Gallery, Jack Tworkov: Paintings and Drawings 1951-1954, March - April 1954 Minneapolis Institute of Arts, 1945-1957: 146 Pictures Representing Outstanding Achievement Or Promise by American Artists of the Post-War Era , June - September 1957, cat. no. 135 Milwaukee Art Center; Tokyo, Bridgestone Gallery; Honolulu Academy of Arts; London, Royal Academy of Arts; Athens, Zappeion; Rome, Palazzo Venezia; Munich, Haus der Kunst; Monte Carlo, Salons Perves; Berlin, Kongrehalle; Copenhagen, Kunsthal Charlottenborg; Stockholm, Liljevalchs Konsthall; Milan, Civico Padiglione d’Arte Contemporanea; Brussels, Palais des Beaux-Arts; Dublin, Municipal Gallery of Art; Madrid, Casa del Buen Retiro; Kunstmuseum Lucerne; Musee d’Art Moderne de la Ville de Paris; Vienna, Akademie der bildenden Kunste; Washington, D.C., Corcoran Gallery of Art; Philadelphia Museum of Art; New York, Whitney Museum of American Art; Providence, Rhode Island School of Design, Museum of Art; Boston, Museum of Fine Arts; Detroit Institute of Arts; Minneapolis Institute of Arts; University of Illinois at Urbana-Champaign, Krannert Art Museum; City Art Museum of St. Louis; Cincinnati Art Museum; Omaha, Joslyn Art Museum; Denver Art Museum; Seattle Art Museum; Fresno State College; Fine Arts Gallery of San Diego; Fort Worth Art Center; Des Moines Art Center; Nashville, Tennessee Fine Arts Center at Cheekwood; Birmingham Museum of Art; Wichita Art Museum; Ithaca, Cornell University, Andrew Dickson White Museum of Art; Coral Gables, University of Miami, Joe and Emily Lowe Art Gallery; Columbia Museum of Art; Mexico City, Museo de Arte Moderno; Toronto, O’Keefe Centre, USA: NOW , November 1962 - October 1967, p. 92, fig. 2, illustrated New York, The Whitney Museum of American Art, Jack Tworkov: A Retrospective Exhibition , March - May 1964 , no. 21, illustrated New York, The Pace Gallery, Selected American Painters of the 1950's , February - April 1974 Glasgow, Third Eye Centre, Jack Tworkov: Paintings 1950-78 , May - June 1979, cat. no. 2, p. 30, illustrated in color Literature Lawrence Campbell, “Reviews and Previews: Jack Tworkov (Charles Egan Gallery)," Art News 53, April 1954, p. 42 Exh. Cat., Philadelphia, Pennsylvania Academy of the Fine Arts, Jack Tworkov: Paintings, 1928-1982 , January - April 1987, cat. no. 21, n.p., illustrated Condition This work is in very good condition overall. The edges of the canvas are taped. There is evidence of wear and handling along the edges, particularly along the top edge, including some hairline craquelure at the pull margins with associated minor spots of loss. The colors are fresh and clean. Under close inspection, a brown handling mark is visible in the upper right and there are scattered faint and unobtrusive areas of hairline craquelure visible. Under raking light, a few minor and unobtrusive surface abrasions are visible at the lower center of the canvas. The canvas has been re-lined. Under Ultraviolet light inspection, there is a thin line that fluoresces along the top and upper right edges of the canvas, and there is a ½-inch spot at the center near the top edge that fluoresces darkly and appears to have benefited from light retouching. Framed. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE. Catalogue Note "All his painting have deliberate structure (yet never in so obvious a fashion that one could put one's finger on it), but in these later paintings one is more aware of the divisions, especially in Dayround and Daybreak , painted to be seen as a pair, in which there are important empty areas and the tenanted parts are occupied by complexes of struggling figures which come up to the surface through the shimmering whites. These beautiful paintings escape like butterflies from words of definition and analysis. It is not just their superior execution—and his paintings stand out for this quality in any surroundings. Surrounded by them one feels in the presence of living, breathing things which open and shut to reveal and hide their secrets. Lawrence Campbell, “Reviews and Previews: Jack Tworkov (Charles Egan Gallery)," Art News 53, April 1954, p. 42