LEE KRASNER | SEED NO. 3
1908 - 1984
SEED NO. 3
titled on the backing board
gouache on Howell paper
Sheet: 6¾ by 10¼ in. (17.1 by 26 cm.)
Framed: 13⅝ by 16¾ in. (35.6 by 42.5 cm.)
Executed in 1969.
This work is in very good condition overall. There are textural shifts and undulations to the paper due to the artist's working method and chosen materials. The edges are deckled and there are some accompanying loose fibers along the edges. There is minor discoloration to the extreme edges, visible upon close inspection. There are a few minor, stable cracks to areas of impasto, visible upon close inspection. Framed under glass.
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.
New York, Marlborough-Gerson Gallery, Lee Krasner, Recent Gouaches, November - December 1969
Lee Krasner was an American Abstract Expressionist painter who was particularly adept in collage. Until recently, she was perhaps best known as Jackson Pollock’s husband. However, there has been a noted reconsideration of Krasner’s influence on Pollack’s work, and for that matter the general school of Abstract Expressionism. Krasner’s more formalized training affected Pollack’s more intuitive and spontaneous technique. Seed No. 3 was painted at a time when Krasner mostly concentrated on creating works on paper with gouache. Krasner’s output from this year was named ‘earth’, ‘water’, ‘seed’ or ‘hieroglyphics’ and often looked similar to a Rorschach test. Some scholars claim Krasner meant to critique Green’s theory of the importance of the two-dimensional nature of the canvas.