RICHARD HAMBLETON | ORCHARD ST.
1952 - 2017
signed, titled and dated 99 on the reverse
acrylic on aluminum stop sign
30 by 30 in. (76.2 by 76.2 cm.)
This work is in very good condition overall. There is minor wear and losses to the underlying found aluminum Stop Sign. There is a minor scuff with accompanying pinpoint loss near the figure's right ear, visible upon close inspection.
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.
Hambleton entered the New York City art scene in the 1980s alongside other street and graffiti artists such as Keith Haring and Jean-Michel Basquiat. Orchard St. belongs to his “Shadowman” paintings, which he began in the early 1980s. True to their name, these works represent a silhouetted image of some mysterious figure. Hambleton would also splash and brush with black paint his “shadow figures” on hundreds of buildings across New York City, eventually expanding the scope of his project to cities including Paris, London and Rome. This work takes its title from a stop sign on which he painted in the Lower East Side, where the artist lived and worked.