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KERRY JAMES MARSHALL | Untitled (Sleepers)
Estimate
10,000 - 15,000 USD
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Description
- Kerry James Marshall
- Untitled (Sleepers)
- signed twice and dated 2015 on the reverse
- ink on archival postcard
- 4 by 6 in. 10.2 by 15.2 cm.
Provenance
Visual Aids, Postcards from the Edge, New York
Acquired from the above by the present owner in 2015
Acquired from the above by the present owner in 2015
Condition
This work is in excellent condition overall. The edges of the sheet are very slightly deckled due to the artist's chosen medium. There is scattered stray media present due to the artist's working method. Framed under Plexiglas.
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.
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
“Extreme blackness plus grace equals power. I see the figures as emblematic; I’m reducing complex variations of tone to rhetorical dimension: blackness.” Kerry James Marshall