Lot 26
  • 26

Ugo Rondinone

Estimate
100,000 - 150,000 GBP
Log in to view results
bidding is closed

Description

  • Ugo Rondinone
  • dreizehnterseptemberzweitausendundnull
  • signed on a label affixed to the reverse
  • acrylic on canvas, Plexiglas plaque
  • 218.5 by 218.5 cm. 86 by 86 in.
  • Executed in 2000.

Provenance

Galerie Hauser & Wirth & Presenhuber, Zurich

Almine Rech, Paris

Acquired from the above by the present owner in 2002

Exhibited

Turin, Pinacoteca Giovanni e Marella Agnelli, Somos Libres II, May - September 2014, n.p., no. 20, illustrated in colour 

Condition

Colour: The colour in the catalogue illustration is fairly accurate, although the overall tonality is lighter and brighter in the original. Condition: This work is in very good condition. Close inspection reveals some light handling marks to the extreme edges of the work. Further inspection reveals a blue mark and some faint scratches to the centre of the left hand edge of the circle. No restoration is apparent when examined under ultra-violet light.
"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

“Rondinone’s Target Paintings seem at first to be straight appropriations of American Pop, colour-field, and hard-edge abstraction. In fact, these works are less copies than giddy impersonations their irony and impurity coming through their deceptively simple surfaces like a five o’clock shadow on a drag queen. Slightly blurred and clearly vibrating as if electric, these Keneth-Nolands-on-parade jiggle and cavort” (Laura Hoptman, ‘Against Nature’, Parkett, No. 52, 1998, p. 134).