Lajos Kassák

Galerie Gmurzynska, Cologne
Private Collection (acquired from the above circa 1970); thence by descent to the present owner

Tomas Straus, Kassak: A Hungarian Contribution to Constructivism, Cologne, 1975, n.p., illustrated

The catalogue image shows the central section of the tapestry only, and not the woven outer four-sided surround. The colours in the catalogue are brighter than the colours in reality which are more attractive in hue. The fizzy/fluorescent hue of yellow in the catalogue image is a sunny yellow in reality, and the orange is not as bright, but a more attractive dark orange hue. The ground colour of the main field is in reality a light café caramel colour and the outer surround is an ivory/cream colour. There is slight fading to the front of the tapestry overall (only noticeable as one can see the original colours on the reverse). The tapestry technique used, includes splits which are intentional along lines of colour change (which are sewn together after woven). On looking at the tapestry panel, in portrait format, this effects the top and bottom straight edges of the relevant shapes. These gaps have been joined with stitching, which does create some slight irregularity to the line. The arcs and sphere have been expertly executed, as they are hard to achieve effectively. There is a slight dark shadow to the inside of the arc on the far edge of the design, which is present on the front and reverse of the tapestry (it is in the weave) and not colour run. Some of the ends of the threads are visible as tails on the reverse, and have not been worked in the tapestry. The tapestry surround (not illustrated in the catalogue) is continuous weave on two sides, and joined intentional woven splits on the two sides (visible as the horizontal edges when viewing the tapestry in reality). They are the top and bottom edge of the catalogue image. In reality the top edge is quite dirty along the width. There is still a lot of knap on the wool, on the front and reverse of panel. There is some surface dirt across the tapestry, visible across the light coloured main field (probably due to the tapestry not always having been protected behind glass). The tapestry has been attached with textile loops to a flat piece of batten, and attached inside the top edge of a glazed frame (not illustrated). The tapestry hangs loose. Although it can easily be removed from this frame, it is protected by it. The tapestry is partially lined on the reverse with cotton attached to the four edges, which are the surround area (not visible in the photograph). The woven initials and numbers are visible on the reverse. In overall good condition. Would benefit from a professional clean.
"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."

Executed in 1922 as an edition of one, this work is unique.