- 232
Elliott Hundley
Estimate
50,000 - 70,000 GBP
bidding is closed
Description
- Elliott Hundley
- Hyacinth
- corkboard, paper, photographs, plastic, fabric, pins, wood, oil, acrylic, charcoal, pastel, string, ceramic and shells
- 244 by 216 by 38.1cm.; 96 by 85 by 15in.
- Executed in 2006.
Provenance
Peres Projects, Berlin
Acquired directly from the above by the present owner in 2006
Acquired directly from the above by the present owner in 2006
Exhibited
London, Royal Academy of Arts; St Petersburg, Hermitage Museum, USA Today: New American Art from the Saatchi Gallery, 2006-8, pp. 182-3, illustrated in colour
Condition
Colour:
The colours in the catalogue illustration are fairly accurate.
Condition:
This work is in very good condition. There are a few scattered spots of lifting in places to the layer of paint on the edges, in keeping with the artists choice of medium. All other surface irregularities are in keeping with the artists working process.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Hyacinth, an intricate web of found objects, delicate strings of fabric, bits of magazine clippings and tiny cutout figures so (seemingly) precariously assembled with pins on a wooden stretcher and corkboard that it defies gravity, constitutes a masterpiece in Hundley’s three-dimensional collages’ practice. This fragmented and eclectic dreamscape, loaded with an emotional, historical and mythological charge, gradually unfolds its epic narrative as the viewer deciphers its myriad of symbols from the painterly surface.
Although L.A. based, Elliot Hundley’s wonderfully complex tableaux have drawn the attention not only of West Coast institutions such as the Los Angeles Museum of Contemporary Art’s permanent collection, but also of East Coast curators as his compositions were acquired by the Guggenheim and the Museum of Modern Art in New York before being exhibited with an undeniable success all around Europe. As Philip Martin sums it up, “Hundley is the one everyone wants” (quoted in Jori Frinkel, “Los Angeles Artists get the Buzz”, International Herald Tribune, New York 2005).
Described by Gary Garrels, curator of the San Francisco Museum of Modern Art, as bearing the ghosts of Robert Rauschenberg's combines, "Hundley's compositions are delicately balanced and formally elaborate. Color shifts between flamboyant and subtle, from intensely saturated to whispered tonalities... Textures may vary between tender and silken to prickly and menacing. In Hundley's assemblages, time—ancient and contemporary—spills forward and backward, one condition fusing into the other. A state of grace, before the fall, remains an echo, a still palpable presence, against the cacophony of history." (Gary Garrels, "Elliott Hundley" in Eden's Edge: Fifteen LA Artists, Los Angeles 2007, p. 102)
Although L.A. based, Elliot Hundley’s wonderfully complex tableaux have drawn the attention not only of West Coast institutions such as the Los Angeles Museum of Contemporary Art’s permanent collection, but also of East Coast curators as his compositions were acquired by the Guggenheim and the Museum of Modern Art in New York before being exhibited with an undeniable success all around Europe. As Philip Martin sums it up, “Hundley is the one everyone wants” (quoted in Jori Frinkel, “Los Angeles Artists get the Buzz”, International Herald Tribune, New York 2005).
Described by Gary Garrels, curator of the San Francisco Museum of Modern Art, as bearing the ghosts of Robert Rauschenberg's combines, "Hundley's compositions are delicately balanced and formally elaborate. Color shifts between flamboyant and subtle, from intensely saturated to whispered tonalities... Textures may vary between tender and silken to prickly and menacing. In Hundley's assemblages, time—ancient and contemporary—spills forward and backward, one condition fusing into the other. A state of grace, before the fall, remains an echo, a still palpable presence, against the cacophony of history." (Gary Garrels, "Elliott Hundley" in Eden's Edge: Fifteen LA Artists, Los Angeles 2007, p. 102)