- 249
Helen Frankenthaler
Estimate
350,000 - 450,000 USD
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Description
- Helen Frankenthaler
- Cortez Junction
signed; signed, titled and dated April 1976 and '76 on reverse
- acrylic on canvas
- 80 1/2 by 72 1/2 in. 179.1 by 184.2 cm.
Provenance
André Emmerich Gallery Inc., Zurich
Private Collection, Germany (acquired in 1976)
André Emmerich Gallery Inc., New York
Acquired by the present owner from the above in October 1989
Condition
This work is in very good condition. There is some evidence of light wear particularly at the edges. There is no apparent evidence of restoration visible when examined under UV light.
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
"Frankenthaler allows the sublime [...] to determine the visual character of her painting. It makes perfect sense that most of her works read as landscapes; they are filled with beadth, light and other transcendent qualities of space."
– Peter Frank, Frankenthaler, Los Angeles, 1997