- 256
Rachel Whiteread
Estimate
60,000 - 80,000 GBP
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Description
- Rachel Whiteread
- Untitled (Black Books)
- inscribed with the artist's initials and numbered 1/10 on the reverse
- black pigmented plastic and steel
- 30.1 by 101.8 by 23.3 cm. 11 7/8 by 40 by 9 1/8 in.
- Executed in 1997, this work is number 1 from an edition of 10.
Provenance
Luhring Augustine, New York
Private Collection, London
Sotheby's, London, 16 October 2009, Lot 190
Acquired from the above by the present owner
Private Collection, London
Sotheby's, London, 16 October 2009, Lot 190
Acquired from the above by the present owner
Exhibited
Sligo, The Model, Ghosts of Other Stories, September - November 2016 (edition no. unknown)
Hay-on-Wye, Richard Booth’s Bookshop, Never Judge A Book…, May - July 2016 (edition no. unknown)
London, Saatchi Gallery, Post Pop: East meets West, November 2014 - March 2015 (edition no. unknown)
London, Whitechapel Art Gallery, The Third Dimension, June - September 2009 (edition no. unknown)
Schwerin, Staatliches Museum, Rachel Whiteread Plastiken und Zeichnungen, November 2005 - January 2006 (edition no. unknown)
Sao Paulo, Museu de Arte Moderna, Rachel Whiteread, March - May 2004 (edition no. unknown)
Cambridge, Jesus College, Sculpture in the Close, June - July 2003 (edition no. unknown)
Edinburgh, National Gallery of Modern Art; London, Serpentine Gallery, Rachel Whiteread, 2001, p. 47, no. 10, illustrated in colour (edition no. unknown)
Taipei, Taipei Fine Arts Museum, Field Day Sculpture From Britain, April - August 2001 (edition no. unknown)
Helsinki, Helsinki City Art Museum; Stockholm, Royal Academy of Free Arts; Kiev, Soros Foundation; Warsaw, Zacheta Gallery; Chemnitz, Stadische Kunstsammlungen; Prague, Museum of Modern Art; Zagreb, Zagreb Union of Croatian Artists; Darmstadt, Institute Mathildehöhe; Vilnius, Centre of Contemporary Art; Budapest, Museum of Modern Art; Bratislava, Slovak National Gallery; Bucharest, National Theatre Galleries; Dimensions Variable, November 1997 - December 1999 (edition no. unknown)
Karachi, Hindu Gymkhana; Lahore, the Old Fort; Harare, National Gallery of Zimbabwe; Johannesburg, Johannesburg Art Gallery; Cape Town, South Africa National Gallery; Bulawayo, National gallery of Zimbabwe in Bulawayo; Nicosia, Nicosia Municipal Arts Centre; Valletta, St. James Cavalier Centre for Creativity; A Changed World, January 1997 - January 2000 (edition no. unknown)
Hay-on-Wye, Richard Booth’s Bookshop, Never Judge A Book…, May - July 2016 (edition no. unknown)
London, Saatchi Gallery, Post Pop: East meets West, November 2014 - March 2015 (edition no. unknown)
London, Whitechapel Art Gallery, The Third Dimension, June - September 2009 (edition no. unknown)
Schwerin, Staatliches Museum, Rachel Whiteread Plastiken und Zeichnungen, November 2005 - January 2006 (edition no. unknown)
Sao Paulo, Museu de Arte Moderna, Rachel Whiteread, March - May 2004 (edition no. unknown)
Cambridge, Jesus College, Sculpture in the Close, June - July 2003 (edition no. unknown)
Edinburgh, National Gallery of Modern Art; London, Serpentine Gallery, Rachel Whiteread, 2001, p. 47, no. 10, illustrated in colour (edition no. unknown)
Taipei, Taipei Fine Arts Museum, Field Day Sculpture From Britain, April - August 2001 (edition no. unknown)
Helsinki, Helsinki City Art Museum; Stockholm, Royal Academy of Free Arts; Kiev, Soros Foundation; Warsaw, Zacheta Gallery; Chemnitz, Stadische Kunstsammlungen; Prague, Museum of Modern Art; Zagreb, Zagreb Union of Croatian Artists; Darmstadt, Institute Mathildehöhe; Vilnius, Centre of Contemporary Art; Budapest, Museum of Modern Art; Bratislava, Slovak National Gallery; Bucharest, National Theatre Galleries; Dimensions Variable, November 1997 - December 1999 (edition no. unknown)
Karachi, Hindu Gymkhana; Lahore, the Old Fort; Harare, National Gallery of Zimbabwe; Johannesburg, Johannesburg Art Gallery; Cape Town, South Africa National Gallery; Bulawayo, National gallery of Zimbabwe in Bulawayo; Nicosia, Nicosia Municipal Arts Centre; Valletta, St. James Cavalier Centre for Creativity; A Changed World, January 1997 - January 2000 (edition no. unknown)
Condition
Colour:
The colours in the catalogue illustration are fairly accurate, although the surface is more mat in the original.
Condition:
This work is in very good condition. Close inspection reveals some short scratches and rub marks in places, and some light wear to the lower edge. There is an irregular surface finish to the right side edge.
"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."
"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."
Catalogue Note
"I wanted to make the piece in such a way that all the leaves of the books were facing outward and the spines were facing inward, so that you would have no idea what the actual books were."
Rachel Whiteread
in conversation with Craig Houser, 'If Walls Could Talk: An Interview With Whiteread', in: Exh. Cat., New York, The Solomon R. Guggenheim Museum, Rachel Whiteread, 2001, p. 59
Rachel Whiteread
in conversation with Craig Houser, 'If Walls Could Talk: An Interview With Whiteread', in: Exh. Cat., New York, The Solomon R. Guggenheim Museum, Rachel Whiteread, 2001, p. 59