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CY TWOMBLY, Untitled II (1967) by Cy Twombly

CY TWOMBLY, Untitled II (1967) by Cy Twombly

Lynart Store

Aquatint

1967

Edition Size: 23

Image Size: 59.7 × 71.7 cm

Sheet Size: 69.5 × 102.2 cm

Signed

Condition: Pristine

Details — Click to read

Untitled II, 1967

Artist: Cy Twombly (1928–2011)
Medium: Aquatint on J. Green paper
Dimensions: Image: 59.7 × 71.7 cm (23½ × 28¼ in.) | Sheet: 69.5 × 102.2 cm (27⅜ × 40¼ in.)
Edition: 23 (plus 5 artist’s proofs)
Signature: Initialed and dated in pencil
Publisher: Universal Limited Art Editions, West Islip, New York, with their blindstamp
Condition: In good condition; with full margins; framed
Literature: Bastian 11; Sparks 3

Description

Untitled II (1967) exemplifies Cy Twombly’s lyrical abstraction, where gesture, memory, and mark-making merge into a delicate visual language. Through the aquatint technique, Twombly achieves an ethereal interplay between line and surface — a controlled spontaneity that evokes both writing and drawing, thought and emotion. Executed on J. Green paper and published by Universal Limited Art Editions, this rare print translates Twombly’s expressive hand into a graphic medium without losing the immediacy of his painterly gestures. The muted tonal range and gestural intensity embody his ongoing fascination with classical themes, personal mythology, and the poetics of the written trace.

Each impression in the limited edition of 23 carries subtle variations that underscore Twombly’s interest in repetition and difference — qualities that define his oeuvre across media. Untitled II thus stands as a serene yet powerful meditation on rhythm, texture, and the passage of time.

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€139,000.00

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The Artist

Cy Twombly

Recipient of the Golden Lion in the Venice Biennale of 2001, Cy Twombly (born Edwin Parker and then renamed ‘Cy’ by his father, an athletics teacher and avid fan of Cyclone Young, a celebrated baseball pitcher of the late nineteenth century). Although he can be included in Abstract Expressionism, his legacy remains rather singular and unclassifiable. When he was 14, he was trained in drawing by Pierre Dura and along with his spiritual father, Nicholas Poussin, they reinvented classical antiquity. In his early years, he was influenced by Kurt Schwitters’ Dadaism and Chaim Soutine’s Expressionism, while he also followed the work of Jackson Pollock and Mark Rothko. His close friendship with Robert Rauschenberg defined his artistic career.

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