1903 - 1972
UNTITLED ("G" IN "GÉRARD")
inscribed "G" in "Gérard"
ink on onionskin paper
Sheet: 10⅞ by 8⅜ in. (27.6 by 21.3 cm.)
Framed: 16⅛ by 13⅝ in. (41 by 34.5 cm.)
Executed in 1971.
This work is in very good condition overall. The sheet is hinged at the corners of the reverse to the backing board. There is a slight undulation to the sheet due to the artist's chosen media. There is minor discoloration along the edges, visible upon close inspection. There is a pinpoint loss to the paper along the upper right edge, visible upon close inspection. There are scattered soft creases, most notably along the upper and right edges and lower right corner, visible upon close inspection. There is a crease along the vertical center, due to the artist's working method. Framed under Plexiglas.
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.
Private Collection, Long Island (acquired directly from the artist in 1972)
Thence by descent to the present owner
“[Cornell] had a deeply sensory and emotional understanding of and ability to link the natural, man-made, and poetic, and even the loosest consideration of synesthesia recognizes it as an associational and experiential union of the senses that expands knowledge and memory… Intrinsically, Cornell understood that our minds construct concepts primarily as sensory, experienced images rather than abstractions. Our thoughts, feelings, and memories are largely imagistic in form, and metaphor – whether for Cornell or each of us – is a bridge that we build between internal images and language, if we interpret language as art, music, writing, science, and even technology. And, as Cornell knew so deeply, sensory experience relates closely to spiritual experience because it moves us from the intellectual to the perceptual.”
(Roscoe Hartigan, Lynda, Joseph Cornell: Navigating the Imagination, p. 87)