Stephen Buckley

Kasmin Limited, London

Original canvas. The construction appears to be stable. There is a small fleck of paint loss at the upper tip of the top triangle. The raised areas of impasto in the white paint have been flattened and there is a small area of cracking at the far right corner of the with square. There is some surface dirt across the work particularly in the recessed areas. With the exception of the above the work appears to be in very good and original condition. Ultraviolet light reveals no obvious signs of fluorescence or retouching. The work is presented unframed. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"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."

Born in Leicester, Buckley studied under Richard Hamilton at King’s College, Newcastle-upon-Tyne, University of Durham (1962-1967) and then under Terry Frost and Claude Rogers at University of Reading (1967-69). He later taught at Canterbury and Leeds Colleges of Art and Chelsea School of Art, and has taught at Reading since 1994 where he is Emeritus Professor of Fine Art. Buckley was a prizewinner at the 1974 and 1979 John Moores Exhibitions in Liverpool and his work is held in many public collections including those at Tate, the Arts Council, British Council and the Metropolitan Museum of Art, New York.

Influenced by Schwitters, Picabia and Duchamp, his work demonstrates a sophisticated concern with the structure and process of painting often incorporating three-dimensional, shaped constructions and exposing the underlying physical architecture of each piece.