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SOL LEWITT | Loopy Doopy
Estimate
10,000 - 15,000 GBP
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Description
- Sol Lewitt
- Loopy Doopy
- each sheet: 28.5 by 18 cm.; 11 1/4 by 7 in.
- each frame: 38 by 27.5 cm.; 15 by 10 7/8 in.
i-iii. signed and dated '99'i-iii. gouache on paper
Provenance
Chester Gallery, Connecticut
Private Collection
Christie's Amsterdam, 16 April 2013, Lot 233
Acquired from the above by the present owner
Private Collection
Christie's Amsterdam, 16 April 2013, Lot 233
Acquired from the above by the present owner
Condition
Red panel: This work is in very good condition. The sheet is hinged verso to the mount in several places. The bottom edge is deckled. Close inspection reveals light wear in places along the edges. Further very close inspection reveals a few networks of drying cracks. Grey panel: This work is in very condition. The sheet is hinged verso to the mount in several places. The bottom edge is deckled. Close inspection reveals light wear in places along the edges. Blue panel: This work is in very condition. The sheet is hinged verso to the mount in several places. The bottom edge is deckled. Close inspection reveals light wear in places along the edges. Close inspection reveals a small loss to the upper right corner.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Catalogue Note
“Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.”
Sol LeWitt
Exh. Cat., New York, Museum of Modern Art, Sol LeWitt: The Museum of Modern Art, 1978, pp. 166-167
Sol LeWitt
Exh. Cat., New York, Museum of Modern Art, Sol LeWitt: The Museum of Modern Art, 1978, pp. 166-167