Franz Kline

Acquired by the present owner from the aritst

Washington D.C., Washington Gallery of Modern art; Waltham, Poses Institue of Fine Arts, Brandeis University; Baltimore Museum of Art, Franz Kline Memorial Exhibition, October 1962 - May 1963, cat. no. 51 
Amsterdam, Stedelijk Museum; Turin, Galleria Civica d'Arte Moderna; Brussels, Palais des Beaux-Arts; Basel, Kunsthalle Basel; Vienna, Museum des 20. Jahrhunderts; London, Whitechapel Gallery; Paris, Musée d’Art Moderne de la Ville de Paris, Franz Kline Memorial Travelling Exhibition, September 1963 - September 1964, cat. no. 9,  n.p., illustrated (Turin), cat. no. 9 (Amsterdam, Brussels, Vienna, Basel and London) and cat. no. 8, n.p., (Paris)
New York, Whitney Museum of American Art; Dallas, Dallas Museum of Fine Arts; San Francisco, San Francisco Museum of Art; Chicago, Museum of Contemporary Art, Franz Kline 1910-1962, October 1968 - May 1969, cat. no. 43, fig. no. 28, p. 33, illustrated
Washington, D. C., The Phillips Collection; Houston, The Institute of Arts, Rice University; Los Angeles, Los Angeles County Museum of Art; Seattle, The Seattle Art Museum, Franz Kline: the Color Abstractions, February - November 1979, cat. no. 26, pl. 26, p. 76, illustrated in color

Exh. Cat., Washington, D.C., National Gallery of Art, The Robert and Jane Meyerhoff Collection, 1945 - 1995, 1996, no. 9, n.p., illustrated

This work is in very good condition. There is some faint discoloration caused by airborne dust and dirt scattered to the surface overall. There are artist's pinholes to the corners and a very slight horizontal 1 inch crease towards the center of the extreme right edge, possibly a tear which was stabilized when the paper was laid down onto the board. There is a very small pinpoint loss 8 - 8¼ inches from the left and 5⅜ - 5½ inches from the bottom edges; one 4½ inches from the top and 2¾ inches from the right edges; and one 2½ inches from the top and 4 inches from the right edges. There are some isolated and stable network areas of extremely thin cracking to the yellow pigment, which are inherent to the process of drying. There is an extremely faint trace of a yellow drip extending approximately 4 inches from the bottom right of the square. Under UV, there are no apparent restorations. The work is framed under Plexiglas in a white painted wood frame with a 3 in. float and interior white painted wood frame flush to canvas.
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.

"It's a wonderful thing to be in love with The Square." 
Franz Kline in an interview with Frank O'Hara in Exh. Cat., London, Whitechapel Art Gallery, Franz Kline Memorial Exhibition, 1964, p. 6