Frank Stella

Martha Jackson Gallery, New York
Acquired by the present owner from the above in 1979

Lawrence Rubin, Frank Stella: Paintings 1958 to 1965, New York, 1986, no. 260, p. 253, illustrated 
Robert Rosenblum, Frank Stella, New York, 1971, p. 41, illustrated

This work is in good condition overall. The surface has recently benefited from a recent topical cleaning by Amann + Estabrook Conservation. There is evidence of residual soiling and handling marks at the edges and the raw canvas has yellowed slightly with age. There is a faint scuff mark along the right lateral edge located approximately 3 ½ in. from the top edge. There are spots of discoloration visible throughout the surface and particularly in the yellow bands of color which are presumably the result of undissolved solids inherent within the surface varnish. There is no apparent evidence of restoration visible when examined under UV light. Unframed.
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.

Travelling to Iran in 1963, at the invitation of Henry Geldzaher, Frank Stella was inspired by the foreigness, vibrancy and sensory impressions of this exotic locale. His experiences would crystallize in a small series of works collectively known as the Persian Paintings, of which Bampur is an example. With its abrupt shifts and surges of upward and downward motion, Bampur visually replicates the staccato intonations of the language that so fascinated Stella's ear. Through its compressed channels of strident color, Bampur seems to condense the essence of Stella's experience and reference the hard-edged form and geometric regularity of the mosaic work that defined the architecture of the region. These vernacular forms no doubt resonated with Stella, who had already begun to articulate a similar sensibility and aesthetic in the context of his own work.