ALEX KATZ | UNTITLED (MARCH)

Lot Closed

March 7, 05:09 PM GMT

Estimate

18,000 - 25,000 USD

Lot Details

Description

ALEX KATZ

b.1927

UNTITLED (MARCH)

signed

oil on board

Board: 10 by 12 in. (25.4 by 30.8 cm.)

Framed: 11 by 12⅞ in. (27.9 by 32.7 cm.)

Painted circa 1964.

Please note that this work has not been examined out of its frame. This work is in very good condition overall. There are minor scattered stable losses to the edges, visible upon close inspection, notably near the bottom left corner. Under ultraviolet light, there is no evidence of restoration. Framed without glazing.

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.

Fischbach Gallery, New York

Felix Smith, Amarillo, Texas

Christie’s East, New York, 2 May 1995, Lot 26

Acquired at the above sale by the present owner

Alex Katz developed his highly stylized aesthetic in the 1950s in reaction to Abstract Expressionism, his approach founded on his own resolution between formalism and representation. The apparent minimalist and flat nature in Katz’s brightly colored figurative and landscape paintings belies his deft application of paint and the subtleties in tonal variation. Katz takes cues from everyday visual culture, borrowing similar source material to the Pop artists of his generation – and some have even argued prior to them – yet working independently. Untitled (March) shows a pair in contemporary attire passing through a park, the surrounding trees bare on a bright day in early spring. Perhaps they are acquaintances, but their distance from one another suggests a certain isolation. Katz has been the subject of numerous solo shows at esteemed institutions and his works reside in the collections of Museum of Modern Art, New York and Tate, London.