Lot 138
  • 138

Chuck Close

Estimate
120,000 - 180,000 USD
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Description

  • Chuck Close
  • Frank
  • signed, titled and dated 1980; signed and dated 1980 on the reverse
  • stamp pad ink and graphite on paper
  • 16 by 11 1/2 in. 40.6 by 29.2 cm.

Provenance

The Pace Gallery, New York
Acquired from the above by the present owner in July 1980

Literature

Lisa Lyons and Robert Storr, Chuck Close, New York 1987, p. 114, illustrated

Condition

This work is in very good condition overall. The edges of the sheet are deckled and there is an artist's pinhole in each upper corner. Under extremely close inspection, a faint pinpoint light spot accretion is visible at the upper left edge, approximately 3.5 inches from the top. The sheet is hinged verso to the mat at the top two corners. Framed under glass.
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

"This tension between the mechanical and manual elements of his style is intensified in Close's newest works which literally bear his mark: the fingerprint drawings. Although an irrefutable sign of personal identity, the fingerprint for Close is just another easily repeated abstract mark. Inking his finger on a stamp-pad, he makes numerous impressions on the paper surface and changes their tonality by varying the pressure of his hand...By randomly applying the fingerprint, Close has given his surfaces a richness absent from his earlier work. The faces are convincingly modeled, but the baroque whorl patterns swarming over their surfaces remind us that these portraits are compositions of abstract marks on a flat surface."

Lisa Lyons, "Changing Faces: A Close Chronology," in Exh. Cat., Minneapolis, Walker Art Center (and traveling), Close Portraits, 1980, pp. 56-58