Lot 121
  • 121

Sol LeWitt

600,000 - 800,000 USD
bidding is closed


  • Sol Lewitt
  • Corner Piece #4
  • painted wood
  • 43 3/8 by 43 3/8 by 43 3/8 in. 110 by 110 by 110 cm.
  • Executed in 1976.


John Weber Gallery, New York
Private Collection, Florida (acquired from the above in February 1990)
Sotheby's, New York, May 15, 2008, lot 109
Acquired by the present owner from the above sale


Lexington, University of Kentucky Art Museum, Sol LeWitt, 1978
Akron Art Institute, Five American Artists: Arthur Dove, Milton Avery, Robert Frank, Sol LeWitt, Jennifer Bartlett, September - November 1980


Exh. Cat., New York, Museum of Modern Art, Sol LeWitt, 1978, cat. no. 112, p. 69, illustrated

Catalogue Note

“It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.” – Sol LeWitt 
Sol LeWitt was a masterfully innovative and particularly prolific artist, credited with playing a pivotal role in founding Conceptual Art and pioneering the Minimalist art movement. Throughout his career in the mid-to-late 20th Century, LeWitt skillfully developed a precise visual lexicon with which he explored new possibilities for art production, utilizing only the most simplified elements of a distinct visual language. To LeWitt, the cube was a “grammatical device” with which he constructed remarkable works, such as Corner Piece #4, that amplified and explored the elegantly refined poetry found within line, form, serialization, and repetition. Through the basic use of repeated cubes, which in the artist’s eye were “relatively uninteresting […] and lacked the expressive force of more interesting forms and shapes,” LeWitt was able to create a participatory viewing experience in which his audience becomes able to complete the open structure conceptually.

Notably, LeWitt referred to his three-dimensional artworks not as sculptures but rather structures which both aptly describes the aesthetic qualities of these minimalist creations while also harkening back to his early architectural influences. In 1955, when the artist was just 27 years old and first exploring a professional interest in the visual arts, LeWitt took a job as a graphic designer in the office of the renowned architect I.M. Pei. The present work, Corner Piece #4, was produced about two decades later but it still maintains many of the architectural influences that LeWitt was surrounded by during those formative years of his early artistic career. Just as an architect drafts his blueprints with profound authority, Sol LeWitt believed strongly that the idea preceding the physical construction of an artwork was of primary importance. His practice followed a mathematical consciousness in addition to an intuitive creative process which resulted in a uniquely meditative aesthetic experience for the artist and viewer alike.