1956
See also : Zao Wou-Ki Sanyu Chagall Eastern Europe Cars Cars II Post war cars Cars 1956-57 Ferrari Early Ferrari British cars Aston Martin
1956 A Ferrari for the Use of Fangio
2015 SOLD for $ 28M including premium
Mercedes-Benz stopped its involvement in competition at the end of the 1955 season. Ferrari watched around the corner and managed to sign a contract with Juan Manuel Fangio. Aged 45 in 1956, the Argentine champion felt that his future was unassured due to the fall of Peron and could not any more consider to retire.
The World Sportscar Championship arouses a similar interest as Formula 1. Faced with the formidable challenge from the Maserati 300S, Ferrari prepares the 290 MM, certainly with some recommendations by its new driver. As usual for Ferrari at that time, the race for which the model is specifically prepared is indicated in the description: MM means Mille Miglia. Four cars are built.
The 1956 Mille Miglia are disturbed by heavy rain that causes no less than three fatalities. The competition is won by a 290 MM driven by Castellotti. Fangio is fourth with his car of the same model.
That 290 MM will not be reused later by Fangio but will have a significant history with other top drivers from the Scuderia Ferrari such as Portago, Phil Hill and Gendebien. Sold to a US private owner in the middle of the 1957 season, it is raced until 1964 without any crash.
This car has retained all its original features: chassis, engine, gearbox and its body by Scaglietti. It is for sale by RM Sotheby's in New York on December 10, lot 221.
Fangio failed to cooperate permanently with Enzo Ferrari and came back to Maserati just after his one-year contract. The Ferrari cars driven in competition by this champion are indeed extremely rare and the example for sale has an amazing authenticity. It is estimated $ 28M.
The World Sportscar Championship arouses a similar interest as Formula 1. Faced with the formidable challenge from the Maserati 300S, Ferrari prepares the 290 MM, certainly with some recommendations by its new driver. As usual for Ferrari at that time, the race for which the model is specifically prepared is indicated in the description: MM means Mille Miglia. Four cars are built.
The 1956 Mille Miglia are disturbed by heavy rain that causes no less than three fatalities. The competition is won by a 290 MM driven by Castellotti. Fangio is fourth with his car of the same model.
That 290 MM will not be reused later by Fangio but will have a significant history with other top drivers from the Scuderia Ferrari such as Portago, Phil Hill and Gendebien. Sold to a US private owner in the middle of the 1957 season, it is raced until 1964 without any crash.
This car has retained all its original features: chassis, engine, gearbox and its body by Scaglietti. It is for sale by RM Sotheby's in New York on December 10, lot 221.
Fangio failed to cooperate permanently with Enzo Ferrari and came back to Maserati just after his one-year contract. The Ferrari cars driven in competition by this champion are indeed extremely rare and the example for sale has an amazing authenticity. It is estimated $ 28M.
1950s Chrysanthème Blanc by Sanyu
2020 SOLD for HK$ 192M by Christie's
Sanyu has always maintained his link between east and west. Chrysanthemum is the best theme to express the cultural difference. In China, it is a symbol of longevity. The ancient Chinese extracted from it a wine which they drank to celebrate autumn. In the same season Europeans sadly use it as a temporary blossom on their graves.
A bouquet of pink chrysanthemums in a white vase, oil on canvas 100 x 76 cm painted in 1931, was sold for HK $ 55M including premium by Poly on April 3, 2017.
In the very difficult years after the war, Sanyu dealt extensively with the theme of the potted chrysanthemum, which undoubtedly brought him comfort. The division of the single trunk into a multitude of branches that rise in parallel towards the ceiling is a mark of vitality and therefore of hope.
The examples below are oils on panel, the main technique used after the war by Sanyu. The works are not dated, and many of them had not been shown during his lifetime, preventing a chronology from being established. The results below include the premium:
RMB 77M by Poly on December 3, 2019 (74 x 53 cm).
HK $ 81M by Sotheby's on April 5, 2014 (130 x 74 cm).
HK $ 53M by Christie's on November 27, 2010 (120 x 90 cm).
The white chrysanthemum is a very rare variant within this series. In the blue and white pot, which as ever symbolizes Chinese art, the plant is entirely white : flowers, leaves and stems. The soil is also white. This color is the symbol of mourning : the Chinese wear white clothes to accompany the deceased towards the supreme purity. The artist probably used it in critical circumstances, either to overcome despair or for a specific mourning.
Chrysanthème blanc, oil on panel 110 x 60 cm, was sold for HK $ 192M by Christie's on July 10, 2020 from a lower estimate of HK $ 60M, lot 121.
A bouquet of pink chrysanthemums in a white vase, oil on canvas 100 x 76 cm painted in 1931, was sold for HK $ 55M including premium by Poly on April 3, 2017.
In the very difficult years after the war, Sanyu dealt extensively with the theme of the potted chrysanthemum, which undoubtedly brought him comfort. The division of the single trunk into a multitude of branches that rise in parallel towards the ceiling is a mark of vitality and therefore of hope.
The examples below are oils on panel, the main technique used after the war by Sanyu. The works are not dated, and many of them had not been shown during his lifetime, preventing a chronology from being established. The results below include the premium:
RMB 77M by Poly on December 3, 2019 (74 x 53 cm).
HK $ 81M by Sotheby's on April 5, 2014 (130 x 74 cm).
HK $ 53M by Christie's on November 27, 2010 (120 x 90 cm).
The white chrysanthemum is a very rare variant within this series. In the blue and white pot, which as ever symbolizes Chinese art, the plant is entirely white : flowers, leaves and stems. The soil is also white. This color is the symbol of mourning : the Chinese wear white clothes to accompany the deceased towards the supreme purity. The artist probably used it in critical circumstances, either to overcome despair or for a specific mourning.
Chrysanthème blanc, oil on panel 110 x 60 cm, was sold for HK $ 192M by Christie's on July 10, 2020 from a lower estimate of HK $ 60M, lot 121.
1956-1957 The Primordial Chaos
2018 SOLD for HK$ 183M including premium
By his abstract art of the mid-1950s Zao Wou-Ki expresses specific feelings detached from a figurative support and gives the key in his short titles. He sees the wind, the night, the dawn, the pond, the dust, the lightning.
He works in Paris but is increasingly nostalgic with his Chinese origins. He is tempted by the synthesis of the mystical beliefs of East and West. An oil on canvas 200 x 162 cm titled Et la Terre était sans forme, dated 1956-1957, is the culmination of this creative impulse.
The title in French is therefore associated with the West and paraphrases the second verse of Genesis just before the appearance of light. In this phase the Earth is uninhabited but cannot be empty. Its creation is an explosion of colors.
The primordial world of Yin and Yang is another interpretation of the creation of forms. Since 1954 Zao was sprinkling his works with an illegible calligraphy inspired from the Oracle Bones, these earliest witnesses of Chinese paleo-scripture which were undoubtedly an attempt at communication with the heavens and anticipated the symbols on the Shang ritual bronzes. The well-centered fireball of Et la Terre était sans forme is patterned with the Oracle bones signature signs of the artist but they are too small and too tight to invite for an understanding in the modern world.
This painting was sold for HK $ 29.4M including premium by Christie's on November 25, 2007, a very high price for a work by Zao at that time. It is estimated HK $ 90M for sale by Poly in Hong Kong on March 29, lot 164.
The mystical crescendo of Zao Wou-Ki is halted by his break in early 1957 with his wife Lan Lan. The hypersensitive artist is in shock. He leaves for a long stay with his brother near New York City where he discovers the spontaneity of abstract expressionism. A new phase of total abstraction will begin.
Please watch the video shared by Poly HK.
He works in Paris but is increasingly nostalgic with his Chinese origins. He is tempted by the synthesis of the mystical beliefs of East and West. An oil on canvas 200 x 162 cm titled Et la Terre était sans forme, dated 1956-1957, is the culmination of this creative impulse.
The title in French is therefore associated with the West and paraphrases the second verse of Genesis just before the appearance of light. In this phase the Earth is uninhabited but cannot be empty. Its creation is an explosion of colors.
The primordial world of Yin and Yang is another interpretation of the creation of forms. Since 1954 Zao was sprinkling his works with an illegible calligraphy inspired from the Oracle Bones, these earliest witnesses of Chinese paleo-scripture which were undoubtedly an attempt at communication with the heavens and anticipated the symbols on the Shang ritual bronzes. The well-centered fireball of Et la Terre était sans forme is patterned with the Oracle bones signature signs of the artist but they are too small and too tight to invite for an understanding in the modern world.
This painting was sold for HK $ 29.4M including premium by Christie's on November 25, 2007, a very high price for a work by Zao at that time. It is estimated HK $ 90M for sale by Poly in Hong Kong on March 29, lot 164.
The mystical crescendo of Zao Wou-Ki is halted by his break in early 1957 with his wife Lan Lan. The hypersensitive artist is in shock. He leaves for a long stay with his brother near New York City where he discovers the spontaneity of abstract expressionism. A new phase of total abstraction will begin.
Please watch the video shared by Poly HK.
1956 Aston Martin targets Le Mans
2017 SOLD for $ 22.6M including premium
When David Brown buys Aston Martin and Lagonda in 1947, his ambition is to lead Aston Martin to win at the 24 hours of Le Mans by relying on the innovative achievements of both brands. Twelve years of stubborn efforts will follow.
The valiant DB3S manages to sneak into the podiums of the endurance competitions but is not powerful enough against Ferrari, Jaguar and Maserati. The changes in Le Mans regulation for limiting the volume in the prototype category are favorable to Ferrari and Aston Martin. The two brands launch ambitious developments : the 250 TR in 1957 for Ferrari and the DBR1 (David Brown Racing 1) in 1956 for Aston Martin.
The first DBR1 car (DBR1/1) is assembled in 1956 with a 3-liter engine sometimes replaced until 1958 by a 2.5-liter engine to comply with the new regulations of some competitions. In 1957 a second DBR1 is made, along with two DBR2 equipped with a larger engine that will be upgraded in two phases to 4.2 liters. Three additional DBR1 will follow.
This model is perfect for the 1000 Km Nürburgring won in 1957 by DBR1/2, in 1958 by DBR1/3, and in 1959 by DBR1/1 with Stirling Moss and Jack Fairman. Taking advantage of Ferrari's misfortune, DBR1/2 realizes at last its boss's dream by winning the 24 Hours of Le Mans in 1959. After a final DBR1/2 victory at Goodwood, Aston Martin stops the competition probably due to financial difficulties and the cars continue their careers with private teams.
Painstakingly maintained as close as possible to its 1959 configuration with the cooperation of the former chief designer of the DBR project, DBR1/1 will be sold by RM Sotheby's in Monterey on August 18, lot 148. It is equipped with a replica engine of the correct configuration and accompanied by its 3-liter engine of 1959. The press release of June 23 expects a price in excess of $ 20M.
Wikipedia and several sources on the web since 2013 indicate that DBR2/1 was sold for £ 9.2M in a private sale.
Please watch in the RM tweet the very short video shared by the auction house.
Wikimedia shares an image of DBR1/1 driven by Carroll Shelby at Sebring in 1958. Attribution : By C5813 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons
The valiant DB3S manages to sneak into the podiums of the endurance competitions but is not powerful enough against Ferrari, Jaguar and Maserati. The changes in Le Mans regulation for limiting the volume in the prototype category are favorable to Ferrari and Aston Martin. The two brands launch ambitious developments : the 250 TR in 1957 for Ferrari and the DBR1 (David Brown Racing 1) in 1956 for Aston Martin.
The first DBR1 car (DBR1/1) is assembled in 1956 with a 3-liter engine sometimes replaced until 1958 by a 2.5-liter engine to comply with the new regulations of some competitions. In 1957 a second DBR1 is made, along with two DBR2 equipped with a larger engine that will be upgraded in two phases to 4.2 liters. Three additional DBR1 will follow.
This model is perfect for the 1000 Km Nürburgring won in 1957 by DBR1/2, in 1958 by DBR1/3, and in 1959 by DBR1/1 with Stirling Moss and Jack Fairman. Taking advantage of Ferrari's misfortune, DBR1/2 realizes at last its boss's dream by winning the 24 Hours of Le Mans in 1959. After a final DBR1/2 victory at Goodwood, Aston Martin stops the competition probably due to financial difficulties and the cars continue their careers with private teams.
Painstakingly maintained as close as possible to its 1959 configuration with the cooperation of the former chief designer of the DBR project, DBR1/1 will be sold by RM Sotheby's in Monterey on August 18, lot 148. It is equipped with a replica engine of the correct configuration and accompanied by its 3-liter engine of 1959. The press release of June 23 expects a price in excess of $ 20M.
Wikipedia and several sources on the web since 2013 indicate that DBR2/1 was sold for £ 9.2M in a private sale.
Please watch in the RM tweet the very short video shared by the auction house.
Wikimedia shares an image of DBR1/1 driven by Carroll Shelby at Sebring in 1958. Attribution : By C5813 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons
1956 From Monza to Mille Miglia
2018 SOLD for $ 22M including premium
In the mid-1950s, Ferrari tried various combinations of engines and volumes to have more chances to win competitions in all their diversity. In 1954 the four-cylinder in-line engine simultaneously equips the 500 Mondial (2 liters), the 750 Monza (3 liters) and the 860 Monza (3.5 liters).
In 1956 the withdrawal of Mercedes-Benz reinforces the lust of Ferrari. The 290 MM meaning Mille Miglia is originally developed for the exclusive use by the Scuderia, with a 3.5-liter 12-cylinder V-engine mounted on the chassis of the 860 Monza.
The 1956 edition of the Mille Miglia is a triumph for the Scuderia Ferrari whose four entered cars, two 860 Monza and two 290 MM, win the first four places.
One of the 290 MM had been driven by Fangio to the fourth place. Sold by the Scuderia after the end of the season, it has a prestigious racing record. After Fangio it had been piloted by Phil Hill, de Portago, von Trips and Peter Collins, among other big names. It was sold for $ 28M including premium by RM Sotheby's on December 10, 2015.
Ranked second in the above event, one of the two 860 Monza had been driven by Collins. For the 1957 season it remains at the Scuderia but is transformed by the factory into a 290 MM. It was sold to a privateer in August 1957 and then got its first win with Stirling Moss. During its time with the Scuderia it had been driven by the same amazing lineup as the example above.
This car then underwent further transformations, including the pontoon bodywork which ensured in 1957 the success of the 250 Testa Rossa. It was restored by Ferrari Classiche in its 290 MM configuration of early 1957 with the engine, gearbox and bodywork in matching numbers from that phase.
It is estimated $ 22M for sale by RM Sotheby's in Los Angeles on December 8, lot 241. Please watch the video shared by Sotheby's, showing its great road going condition. The image shared by Wikimedia with attribution Tino Rossini from Toronto, Canada [CC BY 2.0], via Wikimedia Commons is earlier than the last restoration.
The 290 MM model is prestigious but scarce : only four cars ever received this configuration. It was replaced in 1957 by the 315 S in 3.8 liters and the 335 S in 4 liters which are equally rare. A 315 S transformed into 335 S was sold for € 32M including premium by Artcurial on February 5, 2016.
In 1956 the withdrawal of Mercedes-Benz reinforces the lust of Ferrari. The 290 MM meaning Mille Miglia is originally developed for the exclusive use by the Scuderia, with a 3.5-liter 12-cylinder V-engine mounted on the chassis of the 860 Monza.
The 1956 edition of the Mille Miglia is a triumph for the Scuderia Ferrari whose four entered cars, two 860 Monza and two 290 MM, win the first four places.
One of the 290 MM had been driven by Fangio to the fourth place. Sold by the Scuderia after the end of the season, it has a prestigious racing record. After Fangio it had been piloted by Phil Hill, de Portago, von Trips and Peter Collins, among other big names. It was sold for $ 28M including premium by RM Sotheby's on December 10, 2015.
Ranked second in the above event, one of the two 860 Monza had been driven by Collins. For the 1957 season it remains at the Scuderia but is transformed by the factory into a 290 MM. It was sold to a privateer in August 1957 and then got its first win with Stirling Moss. During its time with the Scuderia it had been driven by the same amazing lineup as the example above.
This car then underwent further transformations, including the pontoon bodywork which ensured in 1957 the success of the 250 Testa Rossa. It was restored by Ferrari Classiche in its 290 MM configuration of early 1957 with the engine, gearbox and bodywork in matching numbers from that phase.
It is estimated $ 22M for sale by RM Sotheby's in Los Angeles on December 8, lot 241. Please watch the video shared by Sotheby's, showing its great road going condition. The image shared by Wikimedia with attribution Tino Rossini from Toronto, Canada [CC BY 2.0], via Wikimedia Commons is earlier than the last restoration.
The 290 MM model is prestigious but scarce : only four cars ever received this configuration. It was replaced in 1957 by the 315 S in 3.8 liters and the 335 S in 4 liters which are equally rare. A 315 S transformed into 335 S was sold for € 32M including premium by Artcurial on February 5, 2016.
1956 Le Grand Cirque by Chagall
2017 SOLD for $ 16M by Sotheby's
The passion of Marc Chagall for the circus dates back to his Jewish childhood in Vitebsk. The clever Ambroise Vollard transferred his craze to Paris, where Marc and Bella were residing since 1923. Vollard had a private box at the Cirque d'Hiver where he frequently invited Chagall from 1927.
Back in France from 1948, Chagall revisited the Cirque d'Hiver in 1955 while a movie was being filmed. This visit reactivated his entrancement for the circus. From his many sketches therein, he prepared a monumental painting which is arguably his masterpiece on that theme.
Le Grand Cirque, oil and gouache on canvas 160 x 310 cm painted in 1956, was sold by Sotheby's for $ 13.8M on May 8, 2007, lot 40, and for $ 16M on November 14, 2017, lot 48.
In a blue dominant, it features several brightly lit performers and acrobats over an orchestra in the pit, and with the crowd of attendants in the rows.
Back in France from 1948, Chagall revisited the Cirque d'Hiver in 1955 while a movie was being filmed. This visit reactivated his entrancement for the circus. From his many sketches therein, he prepared a monumental painting which is arguably his masterpiece on that theme.
Le Grand Cirque, oil and gouache on canvas 160 x 310 cm painted in 1956, was sold by Sotheby's for $ 13.8M on May 8, 2007, lot 40, and for $ 16M on November 14, 2017, lot 48.
In a blue dominant, it features several brightly lit performers and acrobats over an orchestra in the pit, and with the crowd of attendants in the rows.
1956 Yellow over Purple by Rothko
2000 SOLD for $ 14.3M by Sotheby's
Yellow over Purple, oil on canvas 176 x 150 cm painted by Rothko in 1956, was sold for $ 14.3M by Sotheby's on May 18, 2000, lot 33, an auction record for the artist at that time.
1956 Le Banquet by Magritte
2017 SOLD for $ 13.6M by Sotheby's
René Magritte plays with day and night and their transitions, dawn and twilight. Acclaimed as a masterpiece of surrealism, L'Empire des Lumières conceived in 1949 has no fantastic elements. The career of Magritte is launched since the previous year by his contract with Iolas and this supreme subtlety escapes the art critics.
Magritte is also playing with Sun and Moon. By ignoring the third dimension, the crescent moon appears as posed on the character's hat. One of the simplest variants is titled Le Maître d'Ecole. A small gouache 33 x 25 cm made in 1955 was sold for $ 6.8M including premium by Sotheby's on November 5, 2015 over a lower estimate of $ 3M.
In 1956 the artist has a new find, a "trouvaille" in his own words. Why are Moon and Sun always in the background at the risk of being hidden by the landscape ?
Le Banquet shows a common wood edge in front of the redness of sunset. The bright red Sun of great sharpness is at the exact center of the picture ahead of the big tree. In the same year the Moon performs a similar feat in Le Seize Septembre.
One of the earliest examples of Le Banquet, painted in 1956 or perhaps in 1957, oil on canvas 75 x 121 cm, was sold for $ 13.6M by Sotheby's on November 14, 2017, lot 36.
Magritte is also playing with Sun and Moon. By ignoring the third dimension, the crescent moon appears as posed on the character's hat. One of the simplest variants is titled Le Maître d'Ecole. A small gouache 33 x 25 cm made in 1955 was sold for $ 6.8M including premium by Sotheby's on November 5, 2015 over a lower estimate of $ 3M.
In 1956 the artist has a new find, a "trouvaille" in his own words. Why are Moon and Sun always in the background at the risk of being hidden by the landscape ?
Le Banquet shows a common wood edge in front of the redness of sunset. The bright red Sun of great sharpness is at the exact center of the picture ahead of the big tree. In the same year the Moon performs a similar feat in Le Seize Septembre.
One of the earliest examples of Le Banquet, painted in 1956 or perhaps in 1957, oil on canvas 75 x 121 cm, was sold for $ 13.6M by Sotheby's on November 14, 2017, lot 36.
1956 Tour de France with Portago
2015 SOLD for $ 13.2M including premium
By bringing the FIA to revise the competition regulations, the terrible accident at Le Mans in 1955 paves the way for the greatest period of Ferrari. The Ferrari 250 GT Europa, released in the previous year, is perfectly matching the new requirements. Ferrari manages its overwhelming dominance in the category Grand Touring by enhancing this product line.
The first series of the new 250 GT berlinetta in 1956 is primarily devoted to competition. Seven cars are bodied by Scaglietti on a design by Pinin Farina. After a few more units, this model will also receive significant improvements including the signature vents called louvers on the sides of the bodywork.
The fifth of these first seven 250 GT LWB (a designation made after the development of the SWB chassis in 1959) is one of the most glorious cars in all the history of Ferrari. It is for sale by RM Sotheby's in Monterey on August 15, lot 332.
It was sold by Ferrari on 23 April 1956 to the Marquis de Portago who led it to victory in all competitions in which it participated. Its most spectacular achievement is the Tour de France in 1956 where, driven by Portago and Nelson, it won five of the six circuits of the event. In the following year, the victory of Gendebien with another 250 GT LWB consolidated the moniker Tour de France (TdF) now attributed to these berlinettas.
This undefeated car survived without any damage to Portago, the most extreme driver in the history of motor racing, killed with Nelson in the Mille Miglia in 1957 by the explosion of a tire of their Ferrari 335 S. When they recruited Portago in early 1956 among the official pilots of the brand, Ferrari had taken the challenge to demonstrate the exceptional strength of their new cars.
I invite you to watch the video shared by the auction house.
The first series of the new 250 GT berlinetta in 1956 is primarily devoted to competition. Seven cars are bodied by Scaglietti on a design by Pinin Farina. After a few more units, this model will also receive significant improvements including the signature vents called louvers on the sides of the bodywork.
The fifth of these first seven 250 GT LWB (a designation made after the development of the SWB chassis in 1959) is one of the most glorious cars in all the history of Ferrari. It is for sale by RM Sotheby's in Monterey on August 15, lot 332.
It was sold by Ferrari on 23 April 1956 to the Marquis de Portago who led it to victory in all competitions in which it participated. Its most spectacular achievement is the Tour de France in 1956 where, driven by Portago and Nelson, it won five of the six circuits of the event. In the following year, the victory of Gendebien with another 250 GT LWB consolidated the moniker Tour de France (TdF) now attributed to these berlinettas.
This undefeated car survived without any damage to Portago, the most extreme driver in the history of motor racing, killed with Nelson in the Mille Miglia in 1957 by the explosion of a tire of their Ferrari 335 S. When they recruited Portago in early 1956 among the official pilots of the brand, Ferrari had taken the challenge to demonstrate the exceptional strength of their new cars.
I invite you to watch the video shared by the auction house.
1956 De Medici by Kline
2012 SOLD for $ 11M by Christie's
The art of Franz Kline is viewed as the archetype of the Action painting of the American abstract expressionism of the 1950s. Nevertheless his gesture is not spontaneous. It is the result of a painstaking preparation, as Clyfford Still was also doing.
His theme is the city, now driven by industrial life. He indeed prefers the right angles of the constructed structures to the delicacy of nature, but his beams look worn out with their jagged edges.
His signature technique is a confrontation on the canvas of black and white, both in a thick brilliant impasto. He is well aware that the Chinese calligraphy is also an art of black on white. A typical example is an oil on canvas 132 x 94 cm painted in 1955 where the pseudo calligraphic figure has an extremely wide line. This Untitled was sold for $ 6.5M by Christie's on November 14, 2012, lot 21.
Two oils on canvas painted in 1956 display the opposite consequences of that trend.
In Shenandoah, 145 x 205 cm, sold for $ 9.3M by Sotheby's on November 13, 2012, lot 8, the black form cancels all but one of the white voids in the upper part, in a style that certainly influenced Soulages.
In De Medici, 210 x 290 cm, sold for $ 11M by Christie's on November 14, 2012, lot 26, the black forms are complemented by fragile wire-like lines.
His theme is the city, now driven by industrial life. He indeed prefers the right angles of the constructed structures to the delicacy of nature, but his beams look worn out with their jagged edges.
His signature technique is a confrontation on the canvas of black and white, both in a thick brilliant impasto. He is well aware that the Chinese calligraphy is also an art of black on white. A typical example is an oil on canvas 132 x 94 cm painted in 1955 where the pseudo calligraphic figure has an extremely wide line. This Untitled was sold for $ 6.5M by Christie's on November 14, 2012, lot 21.
Two oils on canvas painted in 1956 display the opposite consequences of that trend.
In Shenandoah, 145 x 205 cm, sold for $ 9.3M by Sotheby's on November 13, 2012, lot 8, the black form cancels all but one of the white voids in the upper part, in a style that certainly influenced Soulages.
In De Medici, 210 x 290 cm, sold for $ 11M by Christie's on November 14, 2012, lot 26, the black forms are complemented by fragile wire-like lines.
