EXPOSED PAINTING INTENSE BLACK
signed twice on the overlap
oil on linen
27⅝ by 24½ in. (70.2 by 62.3 cm.)
Executed in 2002.
This work is in excellent condition overall. Under ultraviolet light, there is no evidence of restoration. Unframed.
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.
Frith Street Gallery, London
Acquired from the above by the present owner in 2003
“The paintings of Callum Innes have a remarkable emotive presence. As objects they are charged with an intense energy; as images they are startingly minimal and devoid of elaboration. Seeming to lack intent upon us, depicting nothing, inexpressive, they have nevertheless a powerful effect. Their quietly insistent claim upon the attention doesn’t elicit word so much as contemplative silence. The spectator is confronted as if by some beautiful or mysterious natural phenomenon: brilliant lights ascending in a dense night sky; soft rock, wind-scarred or stained by mineral-bearing water; random organic deposits. Such associations are not merely fanciful, though the paintings are in no way depictive of such things. The procedures by which they are made, which involve processes of dripping and pouring, staining, dissolving, eroding are indeed similar to the natural processes by which the earth and sky are marked in ceaseless variegations, which are unpredictable but familiar.”
- Mel Gooding, “A Poet of Common Sense”, Callum Innes: Paintings and works on paper at the ICA, London, UK, 1992