Willem de Kooning

Allan Stone Galleries, New York
Acquired by the present owner from the above in February 1965

Beverly Hills, Paul Kantor Gallery, Willem de Kooning, April 1961, n.p., illustrated

Sally Yard, Willem de Kooning: The First Twenty-Six Years in New York, New York, 1986, cat. no. 41, illustrated

This work is in good condition overall. The work is double sided. There is an artist's pinhole in the upper center near the edge. There is pale time staining to the sheet, more pronounced near the edges. There is some discoloration bordering the pigmented areas, due to the artist's choice of oil medium, and a few pinpoint areas of faint discoloration in the lower left of the composition in the margin. There is some light wear to the sheet at the extreme edges and corners. The sheet is window matted and cornered into the matte. Framed under Plexiglas.
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.

Sotheby’s is honored to present a selection of artworks from the Estate
of Penelope Chester Sharp. From an intimate Willem de Kooning work on paper circa 1938 and a magical assembly in Joseph Cornell’s box construction to dazzling examples of Wayne Thiebaud’s painterly touch, we are presented with samples of artistic achievement and virtuosity of some of the most decisive themes of the 20th Century artistic canon.

Penelope “Penni” Sharp grew up in Connecticut, favoring her time outdoors and visiting her grandparents’ farm in Cornwall to the social engagements of her contemporaries. After raising two children Stephen (Sandy) and Genie, her thirst for knowledge coupled with her passion for the environment led to a Master’s degree in Forest Science from Yale at the age of 41, thereby
solidifying her expertise in botany and endangered species. As a consulting
biologist to local municipalities, Mrs. Sharp was a guiding force and widely
respected figure in the community, described as “…a true scientist, someone who was committed to finding the truth.”

Mrs. Sharp’s presence extended beyond the assembly room. From her position as a Vice President of the Connecticut Botanical Society and President of Fishers Island’s Henry L. Ferguson Museum to Co-Chairman of the Connecticut Task Force of the New England Plant Conservation Program, Mrs. Sharp’s influence on her local communities is truly inspiring.

A cultural appreciation was just as important to Mrs. Sharp as explorations of
the natural world. She excelled at her studies in Art History at Sarah Lawrence College and became a regular patron of the ballet, theater and museum shows. The art world became a family affair when her sister, Clare Chester, married celebrated New York art connoisseur and dealer Allan Stone. With a keen and careful eye of an inspired art lover, Mr. Stone sought out and collected objects he felt passionate about and championed the careers of the artists who created them. Allan Stone was that rare dealer who carefully shaped an artist’s career, soliciting the interest of collectors who were lovers of art, not of investment, and who had renowned taste-making capabilities. Sotheby’s was privileged to have offered works from the Allan Stone Collection starting in May 2011.

As Mrs. Sharp’s son Stephen McPherson recalls of a family visit to Wayne
Thiebaud and his wife Betty Jean Carr’s home in California: “I remember his
beautiful Victorian house on the Sacramento River. We were given a tour of
Wayne’s studio, which, if I remember correctly, was in his attic. When Mom led us in, she made sure we knew what a special opportunity we were being granted. She was like a kid in a candy store, amazed at flipping through stacks of Wayne’s works, while he was so matter of fact about it all.”

Mrs. Sharp, like the artists in her collection, thrived on the exploration of
her environment. She too understood that what we see and how we see it is paramount to deepening one’s understanding of nature’s constructs. The artworks presented in the following pages are a testament to artists and biologists alike, who embraced the world with passion, enthusiasm and grit.