- 35
Kenneth Noland
Estimate
250,000 - 350,000 USD
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Description
- Kenneth Noland
- Grave Light
- signed, titled and dated 1965 on the reverse
- acrylic on canvas
- 102 by 210 in. 259.1 by 533.4 cm.
Provenance
Mr. and Mrs. Robert A. Rowan, Pasadena (acquired in May 1966)
Wanda Hansen, Sausalito
Graham Gund (acquired from the above in November 1978)
The Gund Art Foundation
Wanda Hansen, Sausalito
Graham Gund (acquired from the above in November 1978)
The Gund Art Foundation
Exhibited
Irvine, University of California, Selections from the Mr. and Mrs. Robert A. Rowan Collection, 1967
San Francisco Museum of Art, American Art of the Sixties, June - July 1967
New York, The Solomon R. Guggenheim Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Washington, D.C., Corcoran Gallery of Art; Toledo Museum of Art; The Denver Art Museum, Kenneth Noland: A Retrospective, April 1977 - May 1978, cat. no. 51, pp. 32 and 86, illustrated in color
Boston, Museum of Fine Arts, A Private Vision: Contemporary Art from the Graham Gund Collection, February - April 1982, p. 37, illustrated in color
Philadelphia, Pennsylvania Academy of Fine Arts, In Private Hands: 200 Years of American Painting, October 2005 - January 2006
San Francisco Museum of Art, American Art of the Sixties, June - July 1967
New York, The Solomon R. Guggenheim Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Washington, D.C., Corcoran Gallery of Art; Toledo Museum of Art; The Denver Art Museum, Kenneth Noland: A Retrospective, April 1977 - May 1978, cat. no. 51, pp. 32 and 86, illustrated in color
Boston, Museum of Fine Arts, A Private Vision: Contemporary Art from the Graham Gund Collection, February - April 1982, p. 37, illustrated in color
Philadelphia, Pennsylvania Academy of Fine Arts, In Private Hands: 200 Years of American Painting, October 2005 - January 2006
Literature
Kenneth Moffett, Kenneth Noland, New York, 1977, no. 161, illustrated in color
Karen Wilkin, Kenneth Noland, New York, 1990, pl. 25, illustrated in color
Karen Wilkin, Kenneth Noland, New York, 1990, pl. 25, illustrated in color
Condition
This work is in very good condition overall. There is evidence of light wear and handling along the edges, resulting in a faint white abrasion at the left edge and one on the left side just above the black painted area. There are a few minor spot accretions visible at the left and right edges. Under Ultraviolet light inspection, there is no evidence of restoration. Framed.
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.
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
"Once Noland started to explore the diamond-shaped support, he began to play with the possibilities of the chevron motif. He produced several broadened diamonds, powerful works in which the interior chevron configuration conformed exactly with the shape of the support. Most notable among these are Grave Light, 1965, and Dark Sweet Cherry, 1966." (Diane Waldman, Kenneth Noland: A Retrospective, Exh. Cat., The Solomon R. Guggenheim Museum, New York, 1977, p. 32)