Property from a Private Collection in Israel
1893 - 1974
THE BLUE HORSES
signed Rubin and signed in Hebrew (lower left); signed Rubin, titled The Blue Horses and dated 1964 Made in Israel (on the stretcher)
painted in 1964
oil on canvas
22⅞ by 36¼ in.
58 by 92 cm.
This work is accompanied by a certificate of authenticity from Carmela Rubin of the Rubin Museum Foundation.
Overall in very good condition. Original canvas, The canvas is slightly wavey and there are some abrasions to the lower left edge from framing. No retouching is apparent 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.
Sale: Matsart Auctions, Jerusalem, June 27, 2007, lot 70
Purchased from the above by the present owner
This work was painted at the peak of Rubin's interest in the interpretation and depiction of galloping horses. “Toward the end of the fifties Rubin began to be much occupied with horses running in the desert as a subject for painting. He says he was inspired by his visits to the Negev... He would watch from afar the Bedouin horsemen galloping across the wastes where once Abraham sojourned and where Hagar had wandered with Ishmael, and so to him the distant riders would take on the appearance of Biblical figures... He was fascinated by the mysterious atmosphere of the desert, and in several canvases there is a strong element of fantasy. The paintings become poetic symphonies of color, imbued with an atmosphere of mysticism; unlike most of Rubin's work, they are not tranquil in spirit but filled with turbulence, now riderless, are driven onward by an unknown force. He uses color arbitrarily; the horses are in blues, while the background, with a huge moon, is in greens, or the horses are in reds and the background in purples. The horses are delineated by thin contour lines, but so masterly is Rubin's draftsmanship that the forms have real solidity.” (Sarah Wilkinson, Reuven Rubin, New York, 1974, pp. 90-91).