- 225
Neil Jenney
Estimate
180,000 - 220,000 USD
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Description
- Neil Jenney
- Impliments Entrenchment
titled; signed and dated NYC 1969 on the reverse of the frame; signed and dated NYC 1970 on the stretcher
- oil on canvas, in painted artist's frame
- Overall: 77 1/8 by 62 5/8 in. 196 by 159 cm.
Condition
This work is in very good condition overall. There is evidence of scattered accretions throughout the surface of the canvas which are mainly only visible under ultraviolet light inspection. Under ultraviolet light inspection, there is no evidence of restoration.
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
"Bypassing the idea of progress implies an extraordinary freedom to do and to be whatever you want. In part, this is one of the most appealing aspects of "bad" painting - that the ideas of good and bad are flexible and subject to both the immediate and the larger context in which the work is seen." - Neil Jenney