1928 - 1994
UNTITLED (SCHELLMANN 261-270)
The complete set of ten woodcuts printed in colors, 1992-93, each signed in pencil on the verso and numbered 14/30 (total edition includes 13 artist's proofs), on Echizen kozo paper, printed by Tadashi Toda, published by Creative Works Editions, Kyoto, framed (10 prints)
sheets: 589 by 789 mm 23¼ by 31 in
The prints are in good condition and the sheets are full. (Each with a few tiny spots of discoloration on the verso. A few with an inconspicuous soft handling crease and slight undulation at top sheet edge.)
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.
The present portfolio comprises one of Donald Judd’s final printmaking projects before his death in 1994. While the artist’s previous editions were persistently spare and monochromatic, here he breaks away and uses vibrant contrasting colors. He remains true in his devotion to sharp edges and seriality but rather than leaving areas void of ink, he fills each entire sheet, and it is the colors, not their forms, that create the variation from one print to the next.