Serge Poliakoff

Acquired by the present owner circa 1985

This work is in very good condition overall. There is light wear and handling along the edges of the unpainted border, obscured by the frame, which is not fully painted due to the artist’s intent and working method. There is creasing and associated hairline craquelure in the pigment at the edges of the sheet as well as two very minor tears to the sheet at the right edge both obscured by the frame: one at center and one approximately 3 inches up from the lower right corner. Under close inspection, there are scattered media accretions visible and some surface irregularities in the lower left quadrant of the white form, both likely from the time of execution and due to the artist’s working method. Under extremely close inspection there are pinpoint losses to the pigment: one in the upper right quadrant of the white pigment and one pinpoint loss in the lower center in the yellow pigment. 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.

With a collection spanning the best of the Ancien Régime featuring 18^th century French furniture and objets d’art, many with outstanding provenance, to Chinese Export porcelain and a Gobelins tapestry, delving into Impressionist+Modern Art, embracing American Art and celebrating Contemporary Art, Elizabeth Avery Keck’s passion for the best has been a Leitmotif of her connoisseurship over the decades, as evident in her Bel Air residence La Lanterne and Holmby Hills Villa Cornelia. “Libby” – as she was known – studied at the Julliard School, which charged her initial pursuit of arts and music, as did extensive international travel, fueling an appreciation for classical architecture and interiors from an early age on. Her tireless dedication to the study of French furniture and decorative arts led her to become a highly regarded connoisseur, widely respected amongst renowned scholars of 18^th century French decorative arts, including Theodore Dell, who consulted for experts in the field including former Getty Museum curator of decorative arts, Gillian Wilson.

Libby relentlessly honed her eye, mastering a vibrant vision for her California residences while working closely with tastemakers and interior decorators such as Jacques Grange. Her resolute commitment to detail was apparent in every aspect of her home – whether consciously choosing to brighten the classical color palettes of formal maison particuliers with explosive colors in bold works by Helen Frankenthaler and Serge Poliakoff – or deliberately deploying the California sunlight into her homes, beautifully dappled light as captured in the Mary Cassatt featured above the fireplace . Beyond a discerning vision and verve for her chosen interiors, Libby’s creative reach also included exquisite landscape designs, partnering with noted Los Angeles landscape architect Joseph Copp. And, perhaps the ultimate tribute to her passion for bursts of color is exemplified in Libby’s collection of superb jewels. Rubies, sapphires, emeralds and diamonds, she presented a testimony to her love of color by simply wearing it.

“It seems to me that love and the passion of genius never die, they remain forever in an object,” Libby once commented. It is this throbbing pulse and strength that persistently attracted Libby to each work of art she acquired and formed a lifestyle collection in which so many collecting categories created a warm splendor, filling rooms not only visually, but also with original musical compositions she wrote for voice and played on her grand piano – and, as Libby so aptly once noted about her passionate pursuit of beauty: “My eye, my heart, my love told me I must have it!”