Property of a Private Collector, Chicago
1896 - 1992
signed Ardon (lower right)
painted in 1969
oil on canvas
18½ by 21⅝ in.
47 by 55 cm.
Overall this work is in very good condition. Canvas is relined. There is some paint shrinkage and craquelure scattered mainly in white impasto and on red stripe (lower center). No retouching is apparent when viewed under UV light.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Michele Vishny, Cleveland
By descent to the present owner
Michele Vishny, Mordechai Ardon, New York, 1974, p. 233, no. 259, illustration no. 188.
Dalia Ardon Ish Shalom, Mordechai Ardon A Comprehensive Catalogue, Jerusalem, 2019, p. 180, no. 317, illustrated
Clement Greenberg recognized the importance of Ardon's landscapes as early as 1948 after viewing the artist's first solo exhibition which took place at the Jewish Museum in New York: "... Bronstein's [Ardon's] chief direction is expressionist, and in his smaller ... canvases there are many reminders of Soutine. However, his best work - especially the apocalyptic and monumental landscapes... displays an expressionism modified by cubism. These paintings are brought to the verge of the abstract by their texture, which consists of a multiplicity of cross-hatched little brushstrokes that create a surface in which shapes dissolve, and underneath whose seeming monotony rhythmic variations of hue and value work powerfully." (Clement Greenberg quoted in The Nation, March 6, 1948, p. 248). These brushstrokes became one of the most identifiable components of Ardon's mature style.