Lot 20
  • 20

SERGE POLIAKOFF | Orange gris et noir

500,000 - 700,000 EUR
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  • Serge Poliakoff
  • Orange gris et noir
  • signed and dated 25-12-64
  • oil on canvas
  • 162 x 130 cm; 63 3/4 x 51 3/16 in.
  • Executed in 1964.


Serge Poliakoff, Paris
Thence by descent (Estate of the Artist)
Private Collection, Londres


St. Gallen, Galerie Im Erker, Poliakoff, 24 April – 19 June 1965; catalogue, p.32, no. 38, illustrated
Luzerne, Galerie Raeber, Serge Poliakoff, 15 August – 15 October 1965; catalogue, no. 30
Locarno, Galerie Flaviana, Serge Poliakoff, 30 October – 30 November 1965; catalogue, no. 13, illustrated
Basel, Galerie d'Art Moderne, Serge Poliakoff, 20 January – 28 February 1966; catalogue, no. 29, illustrated
St. Gallen, Kunstmuseum, Serge Poliakoff, 11 June – 31 July 1966; catalogue, no. 103
Caen, Théâtre et Maison de la Culture, Serge Poliakoff, 6 January – 4 February 1968
Paris, Galerie XXe Siècle, Serge Poliakoff, 12 December 1968 – 15 January 1969
Paris, Musée National d'Art Moderne, Serge Poliakoff, 22 September – 16 November 1970; catalogue, p.63, no. 65; illustrated
Tel-Aviv, Musée de Tel-Aviv, Serge Poliakoff, 27 December 1971 – 1 February 1972; catalogue, no. 25, illustrated
Copenhagen, Musée des Beaux-Arts, Serge Poliakoff, 3 March – 9 April 1972; catalogue, no. 25, illustrated
Oslo, Kunstnernes Hus, Serge Poliakoff, 13 May – 28 May 1972; catalogue, no. 25, illustrated
Trondheim, Trondhjems Kunstforening, Serge Poliakoff, 2 June – 20 June 1972; catalogue, no. 25, illustrated
Lillehammer, Lillehammer Bys Malerisamlung, Serge Poliakoff, 23 June – 14 July 1972; catalogue no. 25, illustrated
Tampere, Musée d'Art moderne, Serge Poliakoff, 15 August – 17 September 1972; catalogue, no. 23
Helsinki, Galerie des Arts, Serge Poliakoff, 27 October – 12 November 1972; catalogue, no. 23
Paris, Galerie de France, Serge Poliakoff, 26 June – 6 October 1973; catalogue, p. 7, illustrated in colour
Montpellier, Musée Fabre, Serge Poliakoff, 23 July – 15 October 1974; catalogue, no. 26
La-Chaux-de-Fonds, Musée des Beaux-Arts, Serge Poliakoff, 22 February – 6 April 1975; catalogue, no. 23
Charleroi, Palais des Beaux-Arts, Serge Poliakoff, 30 September – 2 November 1975; catalogue, no.33
Hovikodden, Sonja Henie-Onstad Kunstsenter, Poliakoff, 5 February – 14 March 1976; catalogue, no. 55, illustrated
Montauban, Musée Ingres, Serge Poliakoff, 26 April – 26 May 1980; catalogue, no. 12
Seoul, Musée National d'Art Moderne, Art Français du XXe Siècle, salle Poliakoff, 26 August – 31 October 1986; catalogue, no. 2, illustrated in colours
Paris, Galerie Pixi, Serge Poliakoff Intime, 4 May – 31 July 1994; catalogue, no.44, illustrated in colour, p. 10
Saint-Louis, Espace d'Art Contemporain Fernet-Branca, Poliakoff, rétrospective, 30 May – 28 September 2008; catalogue, illustrated in colour, p. 109
Paris, Musée d'Art Moderne de la Ville de Paris, Poliakoff la rêve des formes, 18 October - 23 February 2014; catalogue, p. 70, no. 55, illustrated in colour


Dagbladet, 30 mai 1972, illustrated
Marchiori Giuseppe, Serge Poliakoff, Paris, 1976, illustrated
Gérard Durozoi, Serge Poliakoff, Angers, 2001, illustrated in colour, p.233
Madame Figaro, 31 mars 2001, illustrated in colours
Alexis Poliakoff, Serge Poliakoff, Catalogue Raisonné, Volume IV, 1963-1965, Paris, 2012, cover & p. 143, illustrated in colour


The colours are fairly accurate in the printed catalogue illustrations although the overall tonality is softer and the grey areas have a touch of blue and are lighter. The edges of the canvas are covered by the frame. As most of the oil on canvas works by Poliakoff dating from the 60's, the artist prepared his canvas with laid down paper before the execution of the work. The extremity of the upper left corner presents losses. Upon very close inspection, the center of the left half of the canvas presents some tiny cracks in the light grey area, some of which have been carefully been restored. Under Ultra Violet Light inspection the extremity of the upper right, and lower right and left corners fluoresce. Areas of restorations are visible under UV Light inspection only scattered throughout the light grey areas and near the lower edge.
"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.

Catalogue Note

Poliakoff's paintings are revealed from the interior rather than the exterior. This is true, not only for the structure and organization of his pictures, but also for the dimensions of his art. It is abstract and is remote from all nature because it is Nature itself. It has not even the slightest connection with the figurative world. In parallel with the progressive refinement of the components, the understatement of its forms, its enhanced simplicity and muted shading – which almost leads to the secret realm of monochrome -, give it and increasing sense of spirituality, gravity and sanctity. These paintings owe nothing to their exterior; they have no particular message. Rather, they invite one to be absorbed by them; they encourage meditation and are open to it.

Wieland Schmied, foreword to the Serge Poliakoff exhibition catalog at the Kestner Gesellschaft, 1963