- 155
Josef Albers
Estimate
100,000 - 150,000 GBP
Log in to view results
bidding is closed
Description
- Josef Albers
- Light in Dark
- signed and dated 48-55; signed, titled, dated 48-55 and variously inscribed on the reverse
- oil on masonite
- 41 by 79cm.; 16 1/8 by 31 1/8 in.
Provenance
Sidney Janis Gallery, New York
Maximilian Schell, New York
Acquired directly from the above by the present owner
Maximilian Schell, New York
Acquired directly from the above by the present owner
Condition
Colour:
The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly brighter and more vibrant in the original.
Condition:
This work is in very good condition. There is evidence of light wear to the corner tips. Extremely close inspection reveals a small number of faint and unobtrusive media accretions below the right black square, and a tiny fly spot towards the lower centre of the composition. No restoration is apparent when examined under ultra-violet 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. 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
Light in Dark, executed in the early fifties, dates from the period when Albers first began the experiments with colour and form that would come to dominate his artistic production. The luminous pinks and reds at the centre of this work contrast brilliantly with the surrounding brown and black, the juxtaposition between the two creating a striking sense of luminosity and depth.
The present work, in common with other pieces from the ‘Variant’ and ‘Adobe’ series, is fixed around a central imbalance. The twin centres are crucially different in form and yet because of their visual similarities they seem to echo one another, forming a fragile balance whilst rejecting any exact symmetry. This delicate interaction forces a dynamic interplay of colour; it was in these paintings that Albers found his best vehicle to date for the colour experiments that would be fully realised in his ‘Homage to the Square’ series.
This work was originally purchased from the Sidney Janis Gallery by Maximilian Schell. Schell first discovered Albers at the gallery in the 1970s and was immediately attracted by the artist’s distinctive approach. Schell, who had made his name as an actor and director, had a profound regard for perfectionism and the unrelenting pursuit of an ideal; both which are made manifest in Albers’ lifelong dedication to his experiments with colour. It was Sidney Janis who finally introduced Schell to Albers, sparking a friendship that would continue to develop until Albers’ death in 1976. Schell had a unique understanding of Albers’ work with colour and over his lifetime amassed a collection of unique quality and integrity of which the present work was a part.
The present work, in common with other pieces from the ‘Variant’ and ‘Adobe’ series, is fixed around a central imbalance. The twin centres are crucially different in form and yet because of their visual similarities they seem to echo one another, forming a fragile balance whilst rejecting any exact symmetry. This delicate interaction forces a dynamic interplay of colour; it was in these paintings that Albers found his best vehicle to date for the colour experiments that would be fully realised in his ‘Homage to the Square’ series.
This work was originally purchased from the Sidney Janis Gallery by Maximilian Schell. Schell first discovered Albers at the gallery in the 1970s and was immediately attracted by the artist’s distinctive approach. Schell, who had made his name as an actor and director, had a profound regard for perfectionism and the unrelenting pursuit of an ideal; both which are made manifest in Albers’ lifelong dedication to his experiments with colour. It was Sidney Janis who finally introduced Schell to Albers, sparking a friendship that would continue to develop until Albers’ death in 1976. Schell had a unique understanding of Albers’ work with colour and over his lifetime amassed a collection of unique quality and integrity of which the present work was a part.