Lot 277
  • 277

Deborah Butterfield

Estimate
100,000 - 150,000 USD
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Description

  • Deborah Butterfield
  • Jerusalem Horse II
  • steel rods, metal wire and rusted tin
  • 92 by 110 by 46 in. 233.7 by 279.4 by 116.8 cm.
  • Executed in 1980, this work is unique.

Provenance

Galerie Rudolf Zwirner, Cologne
O.K. Harris Gallery, New York
Acquired by the present owner from the above

Exhibited

Jerusalem, The Israel Museum, Deborah Butterfield: Jerusalem Horses, February - April 1981, p. 14, illustrated
Cologne, Galerie Rudolf Zwirner, Visiting Artist Exhibition, October - November 1981

Condition

This work is in very good and sound condition overall. The spots of rust and oxidation are inherent to the artist's use of found materials. Some wires appear bent and misshapen, most of which appears intended by the artist. This work cannot be installed outdoors.
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.

Catalogue Note

Deborah Butterfield was a recipient of a Guggenheim fellowship in 1980 and was invited to concieve a show at the Israel Museum in Jerusalem. During October of 1980, she built five sculptures, one of which the museum kept. The other four went to Galerie Rudolf Zwirner in Cologne, Germany and subsequently to The Mayor Gallery in London.

The present work Jerusalem Horse II was welded with pieces of metal found in junk yards in Jerusalem. Fragile rusted steel shapes reminiscent of continents are stiched to a welded steel armature with wire between two layers of very delicate metal mesh. For the artist, such material and working method represent the fragility of the world we live in.