Lot 195
  • 195

Kehinde Wiley

Estimate
30,000 - 40,000 GBP
Log in to view results
bidding is closed

Description

  • Kehinde Wiley
  • St. Francis
  • signed and dated 07 on the reverse
  • oil on canvas, in artist's frame
  • 208.3 by 180.3 cm. 82 by 71 in.

Provenance

Roberts & Tilton, Los Angeles

Acquired from the above by the present owner in 2007

Exhibited

Turin, Pinacoteca Giovanni e Marella Agnelli, Somos Libres II, May - September 2014, n.p., no. 83, illustrated in colour 

Condition

Colour: The colour in the catalogue illustration is fairly accurate, although the whites are creamier and the blue in the background tends more towards turquoise in the original. Condition: This work is in very good condition. There is some slight yellowing to the varnish throughout. Very close inspection reveals a small circular network of cracks in the dark blue pigment to the centre of the lower edge. Inspection under ultra-violet light reveals uneven fluorescence, which appears to be original.
"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

"Status and class and social anxiety and perhaps social code are all released when you look at paintings of powerful individuals from the past. However, there’s something to be mined and gained by looking at them in a new way. What happens when you see black bodies that have not previously been celebrated on the walls of the most important institutions in the world?... They start to read differently. It becomes a question of 'How do we code the body?'” (Kehinde Wiley, 'Kehinde Wiley on the Old Masters', Artsy Editorial, February 2013, online).