Josef Albers

Sidney Janis Gallery, New York
Edward Totah, Gallery, Londra
Collezione Tommaso Fontana, Roma
Acquistato dall'attuale proprietario nel 2010 circa

There is craquelure with few pin-pointed losses along the upper and right margins of the green frame. There are few scattered pin-pointed retouching and few larger ones by the upper corners and the lower left one and towards the center of the three external frames on the right side.
"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."

L'opera è accompagnata da attestato di libera circolazione

An export licence is available for this lot

“Nonostante l’implicitamente simmetrico e quasi concentrico ordine dei quadrati rimane lo stesso in tutti i dipinti –in proporzione e disposizione- questi stessi gruppi o gli stessi singoli, si connettono e separano in molti modi differenti.
Di conseguenza, si muovono avanti e indietro, dentro e fuori, e crescono su e giù e vicino e lontano, come anche ingranditi e rimpiccioliti.
Tutto questo, per proclamare l’autonomia del colore come mezzo di un’organizzazione plastica.”

Josef Albers

“Despite the implicit symmetrical and concentric order of the squares it remains the same – in proportion and disposition – in all paintings, these same groups or singularly, connect and separate in many different ways.
Consequently, they move back and forth, in and out, they grow up and down and close and far, as well as bigger and smaller.
All of this, to proclaim the autonomy of colour as a mean in a plastic organization.”