Richard Smith

Kasmin Gallery, London, whence acquired by the present owner in 1988

London, Kasmin Gallery, 1967;
russels, Palais des Beaux Arts, Exhibition of Young British Painters, 1967 (catalogue untraced);
New York, Jewish Museum, Richard Smith, 19 March - 12 May 1968, no.11;
London, Tate Gallery, Richard Smith: Seven Exhibitions 1961-75, 13 August - 28 September 1975, no.22, illustrated in the catalogue. 

 

The canvas is unlined and appears to be providing a good sound support. There is a small dent to the canvas upper right and three shallow scratches to the canvas near the upper and lower left corners. However these do not have a major impact on the overall impression of the work. There is a scuff to the surface of the protruding strip upper right, but otherwise the paint surface appears to be in good sound condition throughout. The work would, however, undoubtedly benefit from a professional clean. The aluminium support has suffered a small dent and various scratches and is coming apart from the canvas slightly at the tip of the protruding strip. Presented unframed. Please note that the overall tone is more yellow than it appears in the catalogue illustration and the protruding strip upper right is more of a turquiose blue.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Smith's A Whole Year a Half a Day series was conceived specifically for Kasmin's gallery, and was first shown there in 1967. The group draws its subject from the torn-off corners of calendars and relates to Smith's interest in close-up images, as had been seen in the packaging-influenced works earlier in the decade. Running as a sequence, with changing colours and shapes within the basic 61 x 61" format, it was broken up after the initial showing, and thus existed only in memory (apart from the Tate 1975 showing), something that is consistent with the theme of the paintings, that of passing time as the original unit is gradually used up over the course of the year.