Lot 10
  • 10

PATRICK SCOTT | Gold Painting 486

Estimate
8,000 - 12,000 GBP
bidding is closed

Description

  • Patrick Scott
  • ¬†Gold Painting 486
  • signed and titled on the canvas overlap
  • tempera, gold leaf and silver leaf on unprimed canvas
  • 122 by 122cm., 48 by 48in.
  • Painted in 1986.

Provenance

The Estate of the Artist

Condition

Original canvas. Some minor losses to some of the areas of gold leaf, common with the artist's work; otherwise it appears in good overall condition. No signs of retouching under ultraviolet light. Unframed.
"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

Irish artist Patrick Scott developed his celebrated Goldpaintings series in 1964 and among his contemporaries in Ireland, was a singular pioneer of the new minimalist strain in abstraction, countering the hitherto dominant style of Abstract Expressionism. In adopting gold as his motif, he consciously steered away from any iconographic references typically associated with the medium. Rather, his works possess a cooler, Japanese aesthetic that stems from his interest in Zen - the result is works that are meditative and invite contemplation.  The Goldpaintings 'do not aspire to be respresentations of the visual world; they are simply themselves, points of arrival rather than departure. Then, while they are of course visual things, they are also fundamentally tactile objects, continually prompting us to address their textural qualities. That is, seeing the weave of canvas and the lustre of gold evokes the sensation of touch. This in-between quality of gold accounts for a large part of its appeal for Scott. The paintings' textures, and the difference and interplay between them, are inescapable and integral to their effects.' (Aidan Dunne, Patrick Scott, Dublin, 2008, p.98)