Lot 231
  • 231

Bernar Venet

Estimate
150,000 - 200,000 USD
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Description

  • Bernar Venet
  • 228.5º Arc x 5
  • stamped with the title
  • rolled steel 
  • 87 1/2 by 87 1/2 by 19 1/2 in. 222.3 by 222.3 by 49.5 cm.
  • Executed in 1999.

Provenance

Armand P. Arman, New York 
Corice Canton Arman, New York (by descent from the above)
Gift of the above to the present owner in 2004 

Exhibited

Vail, Summer of Sculpture, May 2009 - May 2010

Condition

This work is in very good and sound condition overall. All discoloration, minor indentations, pitting and other surface irregularities are to be expected from a work that goes outside and inherent to the artist’s technique and chosen medium. This work has recently benefited from conservation by the Bernar Venet studio.
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

"In 1966 Bernar Venet went to New York for the first time...Later in the year he moved there for good. What convinced him was a kind of revelation which occurred at the Whitney Museum of American Art....He attended an exhibition of contemporary American sculpture. This was 'The Jean and Howard Lipman Collection,' including works by Donald Judd....Venet remembers keenly the 'shock' of the work...which forced him to the surprising realization that 'my intentions were closer to those of the American artists than to the Europeans.' It was specifically the work of Minimal artists he was referring to, with their insistence no industrial inexpressiveness and their focus on the surface rather than the interior, in a rejection of implied depths in favor of a perceived and present surface."

Thomas McEvilley, Bernar Venet, Bern 2002, p. 19