Sol LeWitt

John Weber Gallery, New York
Gilman Paper Company, Vermont
Christie’s, New York, May 5, 1987, lot 31
Acquired by the present owner from the above sale

Magasin 3 Stockholm Konsthall, wizz eyelashes, September 2014 - June 2015

This work is in very good and sound condition overall. There are minor areas of paint loss throughout the work as is typical with this white painted wood series, the most prominent being on corner edge of element 4/5. There are a few scattered and unobtrusive pinpoint brown drip accretions visible on the elements.
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.

4 Cubes Horizontal (Series) perfectly demonstrates the seriality and modular nature of Sol LeWitt’s conceptual and structural work. Based on a gradual and systematic increase in volume, the work proposes a progression of pure form whilst maintaining strictly Minimalist sensibilities. Made from wood, the present work has a softer and more personal touch than the artist’s industrially produced cubes, endowing the work with an alluring, almost tactile quality that sets it apart from others in this series. LeWitt also playfully breaks with a sense of strict logic in the title which refers to four cubes even though, depending on how you choose to see the work, there are actually five. This aesthetic-conceptual ambiguity is mirrored in the uncompleted compositions of the central structures whose ultimate form is intrinsically implied through the progressive steps in the sequence, therefore inviting the viewer to engage more rigorously with the work and consider the myriad potential interactions and implications between form and logic. These sublime modular structures are definitive of LeWitt’s three dimensional work.