- 120
Richard Tuttle
Estimate
150,000 - 200,000 USD
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Description
- Richard Tuttle
- Untitled (from "The Twenty-Six Century Series")
- soldered metal, in 3 parts
- i: 10 1/4 by 7 1/2 by 1/2 in. 27.3 by 19 by 1.2 cm. ii: 12 by 6 3/4 by 1/2 in. 30.4 by 17.1 by 1.2 cm.
- iii: 8 1/2 by 10 3/4 by 1/2 in. 21.5 by 27.3 by 1.2 cm.
- Executed in 1967.
Provenance
Young Hoffman Gallery, Chicago
Acquired by the present owner from the above in 1980-1983
Acquired by the present owner from the above in 1980-1983
Literature
Exh. Cat., New York, The Whitney Museum of American Art, Richard Tuttle, September - November 1975, p. 38, illustrated (another example exhibited)
Exh. Cat., Los Angeles, Otis Art Institute, Richard Tuttle, January - February 1976, illustrated (another example exhibited)
Exh. Cat., San Francisco Museum of Modern Art; The Whitney Museum of American Art; Des Moines Art Centre; Dallas Museum of Art; Chicago, Museum of Contemporary Art; Los Angeles, Museum of Contemporary Art, The Art of Richard Tuttle, July 2005 - June 2007, no. 57, illustrated (another example exhibited)
Exh. Cat., Los Angeles, Otis Art Institute, Richard Tuttle, January - February 1976, illustrated (another example exhibited)
Exh. Cat., San Francisco Museum of Modern Art; The Whitney Museum of American Art; Des Moines Art Centre; Dallas Museum of Art; Chicago, Museum of Contemporary Art; Los Angeles, Museum of Contemporary Art, The Art of Richard Tuttle, July 2005 - June 2007, no. 57, illustrated (another example exhibited)
Condition
This work is in very good condition. There is evidence of scattered faint surface abrasions to the elements, located primarily at the edges. Other surface irregularities appear inherent to the soldered metal material.
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
In 1966, Richard Tuttle produced the storied work Letters (The Twenty-Six Series). Comprised of twenty-six tin elements corresponding to the letters in the English alphabet, individually the pieces were fabricated in a manner similar to his constructed paintings. Formed from a double template which was then transfered onto a thin sheet of silvery galvanized iron, the pieces were then welded together with a thin soldered band. Tuttle actually produced two bodies of work within the series, the second of which was made in three versions. At the time of conception, Tuttle radically exhibited these letters in multifarious ways. At the debut of the work at the Betty Parson's gallery, he exhibited the work on a table; at the Whitney exhibition in 1975, the work was first exhibited on the wall, and later it was exhibited across the museum floor. As such, it is the artist's intent that the work be exhibited in any way the owner wishes, lending both an independent autonomy and utopian engagement to his art.