- 333
Sherrie Levine
Estimate
90,000 - 120,000 GBP
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Description
- Sherrie Levine
- Untitled (The Bachelors: 'Livreur de Grand Magasin')
- frosted glass, glass and wood
- cylinder: 25.5 by 6.5 by 6.5cm.; 10 by 2 5/8 by 2 5/8 in.
- display case: 175.5 by 50.8 by 50.8cm.; 69 1/8 by 20 by 20in.
- Executed in 1989.
Provenance
Mary Boone Gallery, New York
Private Collection, New York
Simon Lee Gallery, London
Acquired directly from the above by the present owner
Private Collection, New York
Simon Lee Gallery, London
Acquired directly from the above by the present owner
Exhibited
London, Simon Lee; New York, Nyehaus, Sherrie Levine, 2007
Literature
Rosalind E. Krauss, "Bachelors", October, 1999, p. 189, illustrated
Vangelis Athanassopoulos, "Quand L'Utopie Devient Marchandise. L'Art à l'Ère des Illusions Perdues", La Voix du Regard, no. 14, Autumn 2001, p. 106, illustrated
Vangelis Athanassopoulos, "Quand L'Utopie Devient Marchandise. L'Art à l'Ère des Illusions Perdues", La Voix du Regard, no. 14, Autumn 2001, p. 106, illustrated
Condition
Colour:
The colours in the catalogue illustration are fairly accurate.
Condition:
This work is in very good condition.
"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
“I always wanted”, she said, “to find a way to make sculpture. . . . What I wanted was to be able to make a sculpture.” In 1989, [Duchamp’s] bachelor machine was there, waiting, to provide Sherrie Levine with “a way” to make sculpture. And the malic molds would provide these part-objects “ready-made.” The “way to make a sculpture” would be to exhume them, to liberate them from the plane of The Large Glass, to cast them in three dimensions.
And nothing needs to be added to these bachelors. They are just as Duchamp left them, ready-made. Not as he made them, for on the field of The Bride Stripped Bare by Her Bachelors, Even they are in the two dimensions of sheets of lead; but as he projected them, within the notes he so patiently stored in The Green Box. For he envisioned them as molds after all, and therefore to be cast. Each cast producing a bachelor, or as he would also put it, a malic form. And the contents of the molds he described as well, when he imagined the illuminating gas inside the molds as solidifying into frosty spangles—“a thousand spangles of frosty gas.” To cast the bachelors in glass, and then to frost the glass, is therefore to add nothing, to create nothing. It is to accept Duchamp’s bachelors, his malic forms, ready-made. It is to do nothing more than to occupy that historical position that can be called the Duchamp effect.”
ROSALIND E. KRAUSS
quoted in 'Sherrie Levine: Bachelors', Belle-Ile-en Mer 1989, in Bachelors, Cambridge 1999, pp. 179 and 182
And nothing needs to be added to these bachelors. They are just as Duchamp left them, ready-made. Not as he made them, for on the field of The Bride Stripped Bare by Her Bachelors, Even they are in the two dimensions of sheets of lead; but as he projected them, within the notes he so patiently stored in The Green Box. For he envisioned them as molds after all, and therefore to be cast. Each cast producing a bachelor, or as he would also put it, a malic form. And the contents of the molds he described as well, when he imagined the illuminating gas inside the molds as solidifying into frosty spangles—“a thousand spangles of frosty gas.” To cast the bachelors in glass, and then to frost the glass, is therefore to add nothing, to create nothing. It is to accept Duchamp’s bachelors, his malic forms, ready-made. It is to do nothing more than to occupy that historical position that can be called the Duchamp effect.”
ROSALIND E. KRAUSS
quoted in 'Sherrie Levine: Bachelors', Belle-Ile-en Mer 1989, in Bachelors, Cambridge 1999, pp. 179 and 182