Lot 43
  • 43

KENNETH NOLAND | Mysteries: Touch

Estimate
80,000 - 120,000 USD
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Description

  • Kenneth Noland
  • Mysteries: Touch
  • signed, titled and dated 1999 on the reverse
  • acrylic on canvas
  • 26 1/8 by 26 1/8 in. 66.4 by 66.4 cm.

Provenance

Collection of the Artist
Ameringer | Howard | Yohe, New York
Chac-Mool Gallery, Los Angeles
Acquired from the above by the present owner

Condition

This work is in very good condition overall. Under close inspection, there are a few scattered pinpoint brown spot accretions visible, most notably at the center of the left edge and in the outer blue band 9 ½ inches from the right edge and 5 ½ inches from the top edge. Under further close inspection and raking light, there is a pinpoint yellow drip accretion visible 9 ½ inches from the right edge and 12 inches from the top edge. Upon very close inspection, there is evidence of rubbing to the top corners of the painting. Under Ultraviolet light inspection, the aforementioned drip accretion fluoresces lightly, and does not appear to be restoration. Framed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

“Noland’s motifs do not possess the quality of images; they are present solely in an abstract capacity, as means solely of organizing and galvanizing the picture field. Thanks to their centeredness and their symmetry, the discs [...] create a revolving movement that spins out [...] beyond the four sides of the picture to evoke, once again, limitless space, weightlessness, air.” Clement Greenberg, “Louis and Noland,” in: John O’Brian, Ed., Clement Greenberg: The Collected Essays and Criticism, Volume 4, Modernism with a Vengeance, Chicago 1993, p. 98