BARNETT NEWMAN | UNTITLED ETCHING 2
Property from the Collection of Harry W. and Mary Margaret Anderson
1905 - 1970
UNTITLED ETCHING 2
signed, dated 1969 and numbered 19/27
etching and aquatint on J. Green paper
plate: 23½ by 14¾ in. 59.6 by 37.6 cm.
sheet: 31¾ by 22¾ in. 80.6 by 57.8 cm.
Executed in 1969, this work is number 19 from an edition of 27, plus 4 artist's proofs.
This print is in very good condition overall and has full margins. The edges of the sheet are deckled and there is a ¼ inch tear in the deckle at upper right, which is obscured by the mat. The print is extremely faintly light-stained. Under very close inspection, a tiny fox mark is present in the right of the black band. The print is hinged verso to the mat intermittently along the edges. Framed under Plexiglas.
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.
M. Knoedler & Co., New York
Acquired from the above by the present owner in 1969
Melinda Terbell, “Los Angeles,” Arts Magazine, Vol. 45, No. I, September - October 1970, p. 54
Exh. Cat., New York, The Museum of Modern Art, Barnett Newman, 1971, p. 138
Thomas B. Hess, “Notes on Newman’s ‘Notes,’” The Print Collector’s Newsletter, Vol. 2, No. 6, January - February 1972, p. 122
Riva Castleman, Prints of the Twentieth Century: A History, New York, 1976, p. 138
Harold Rosenberg, Barnett Newman, New York, 1978, cat. no. 229, illustrated
Exh. Cat., Amherst, University of Massachusetts, University Gallery, The Prints of Barnett Newman, 1983, p. 93, illustrated
Sam Hunter and William Rubin, The Museum of Modern Art, New York: The History and the Collection, New York 1984, cat. no. 612, p. 373, illustrated
Riva Castleman, American Impressions: Prints Since Pollock, New York 1985, cat. no. 94, p. 131, illustrated
Esther Sparks, “Barnett Newman,” Universal Limited Art Editions: A History and Catalogue: The First Twenty-Five Years, New York, 1989, no. 41, illustrated
Deborah Ripley, “Prints and Multiples,” Artscribe, No. 63, September - October 1990, p. 20
Exh. Cat., Stedelijk Museum, Barnett Newman, Notes: 18 Etchings and Aquatints, 1993, pp. 40, 46 and 47
Michael Archer, “Barnett Newman,” Art Monthly, No. 201, November 1996, p. 33
Rolf-Gunter Dienst, “Gesange auf Stein,” Frankfurter Allgeine Zeitung, 29 August 1996, p. 32
Exh. Cat., Staatsgalerie Stuttgart, The Prints of Barnett Newman: 1961-1969, 1996, p. 115, illustrated in color
Gabrielle Schor, “Freie Farbe, lebendige Form,” Berner Kustmitteilungen, No. 307, November/December 1996, p. 5
Exh. Cat., Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Konzeptionelle Druckgraphik: Dan Flavin, Donald Judd, Richard Serra, Barnett Newman, Josef Albers, 1996, n.p.
Exh. Cat., Philadelphia Museum of Art, Barnett Newman, 2002, pl. 101, pp. 296-297, illustrated
Carter Ratcliff, “Newman’s Perennial Now,” Art in America, Vol. 90, No. 9, September 2002, p. 97
Richard Shiff, Carol C. Mancusi-Ungaro and Heidi Colsman-Freyberger, Barnett Newman: A Catalogue Raisonné, New York, 2004, cat. no. 250, p. 498, illustrated in color