New York/New Wave: From Walls to Canvas
1952 - 2017
PASSING THROUGH MARLBORO COUNTRY
titled and dated 1984 on the reverse
oil on canvas board
Canvas: 11 by 14 in. (27.9 by 35.5 cm.)
Framed: 13¾ by 16¾ in. (34.9 by 42.5 cm.)
Stamped with Woodward Gallery, N.Y.C. inventory number WGRH1251.
This work is in very good condition overall. There are tonal and textural shifts due to the artists working method and chosen media. There is a fine layer of surface soiling, visible upon very close inspection. There are a few scattered losses in the lower right corner, potentially inherent to the artist's working method. Under ultraviolet light, there is no evidence of restoration. Framed under Optium Museum Tru Vue Invisible Acrylic.
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, New York (acquired directly from the artist)
An American-Canadian graffiti artist, Richard Hambleton initially attracted public attention by painting faux crime-scene outlines of bodies on pavements. In the early 1980s, Hambleton painted buildings in the Lower East Side of New York City alongside Jean-Michel Basquiat and Keith Haring, during which time the artist also began to portray iterations of his highly recognized Shadowman figures onto found objects and canvases. According to the artist, “they could represent watchmen or danger or the shadows of a human body after a nuclear holocaust or even my own shadow”.
“His early Shadowman period led to shadow images of bucking horses and riders on walls and canvases. By 1984, he had turned to the Marlboro Man, the cowboy figure whose macho image promoted cigarettes for decades. Mr. Hambleton, who smoked, toyed with the image, painting shadow figures over it, sometimes mixing tobacco with black paint for what he called a ‘black lung’ effect”
(New York Times, 3 Nov 2017)