Cy Twombly, ‘Untitled’, Christie's

Cy Twombly (1928-2011)


signed and dated 'Cy Twombly 69' (on the reverse)

oil and wax crayon on paper

30 x 40 in. (76.2 x 101.6 cm.)

Executed in 1969.

Signature: signed and dated 'Cy Twombly 69' (on the reverse)

Philadelphia, Institute of Contemporary Art, University of Pennsylvania and San Francisco Museum of Modern Art, Cy Twombly: Paintings, Drawings, Constructions 1951-1974, March-June 1975, p. 59 (illustrated).

New York, Solomon R. Guggenheim Museum and Baden-Baden, Staatliche Kunsthalle, Twentieth-Century American Drawing: Three Avant-Garde Generations, February-August 1976, p. 99, pl. 180 (illustrated).

Seattle, Richard Hines Gallery, Cy Twombly: Paintings & Drawings 1956-1975, July-August 1980.

S. Delehanty, "The Alchemy of Mind and Hand," _Art International,_vol. XX, no. 2-3, February/March 1976, p. 20 (illustrated).

N. Del Roscio, Cy Twombly Drawings, Catalogue Raisonné Volume 4, 1964-1969, Munich, 2014, p. 198, cat. no. 232 (illustrated in color).

Collection of Mr. and Mrs. Leo Castelli, New York

Greenberg Gallery, St. Louis

Private collection, 1978

Anon. sale; Sotheby's, New York, 10 November 1993, lot 49

Private collection, Columbus, Ohio

Pace Wildenstein, New York

Acquired from the above by the present owner

About Cy Twombly

Cy Twombly emerged in the 1950s, developing a characteristic painting style of expressive drips and active, scribbled, and scratched lines. “My line is childlike but not childish,” he once said. “It is very difficult to fake…to get that quality you need to project yourself into the child's line. It has to be felt.” Early influences included Willem de Kooning, Franz Kline, Jackson Pollock, and Robert Motherwell, but more formative would be his relationships with Robert Rauschenberg and Jasper Johns, along with whom he would distance himself from the dominance of Abstract Expressionism. Twombly's work also appeared in one of the first exhibitions to explore ideas of Minimalism—“Black, White, and Grey” (1964)—along with Agnes Martin, Frank Stella, and Andy Warhol. In addition to his paintings, which were sometimes dismissed as "high-art graffiti," he produced sculptures assembled from found objects, clay, and plaster, painted white to suggest an affinity to Classicism.

American, 1928-2011, Lexington, Virginia, based in New York and Rome