- Jacqueline Humphries
- signed, dated 2008 and variously inscribed on the reverse
- metallic oil and enamel on linen
- 203 by 221 cm. 80 by 87 in.
Acquired from the above by the present owner in 2010
"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."
Speaking with Humphries in 2009, the celebrated painter Cecily Brown noted that Humphries’s paintings “discourage stationary viewing. They seem to want to be perceived from multiple viewpoints” (Cecily Brown in conversation with Jacqueline Humphries, in: Cecily Brown, ‘Jaqueline Humphries by Cecily Brown’, BOMB 107, Spring 2009, online). It is these attempts at a form of digital cubism, in which Humphries attacks the sacred serenity of abstraction in a similar way that Picasso attacked figuration, that have brought her critical acclaim. Art in America noted that she “has found a perfectly synthesised pitch that is all her own” (Nana Asfour, ‘Jacqueline Humphries’, Art in America, 16 October 2012, online). She is a painter’s painter: John Currin, Cecily Brown, Amy Sillman and Sean Launders are all known admirers of her work, interested in the various pictorial stances she has taken into order to critique to the position of the post-modern painter.