Lot 126
  • 126

Franz Kline

Estimate
200,000 - 250,000 USD
bidding is closed

Description

  • Franz Kline
  • Untitled
  • signed and dated 1953 on label affixed to the reverse
  • ink on paper
  • 11 by 8 1/2 in. 27.9 by 21.6 cm.

Provenance

Egan Gallery, New York
Acquired by the present owner from the above

Exhibited

Urbana, Krannert Art Museum, University of Illinois; Nashville, Tennessee Fine Arts Center, A Selection from the Josephine and Phillip A. Bruno Collection, November 1961 - February 1962
New York, Finch College Museum of Art; St. Paul, The Saint Paul Art Center, The Josephine and Phillip A. Bruno Collection, November 1965 - May 1966, p. 20, illustrated

Condition

This work is in very good condition overall and shows minimal evidence of wear. The work is laid down on acid-free paper. 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.

Catalogue Note

"He was a magnificent painter. He had that same quality that Matisse had, in a sense of that sureness. It was so open and compositionally so right." Robert Ryman on Franz Kline in an interview with Robert Storr, "Simple Gifts," Robert Ryman, London, 1993, p. 14

Franz Kline routinely executed a number of preparatory works in his effort to acheive the "perfect" composition that artist's such as Robert Ryman extolled in his paintings. Although the present work has long been attributed with an executioon date of 1953, its likeness to Kline's magnificent 1951 painting, titled Black & White, 1951, is undeniable.