The canvas is unlined and in good condition.
The paint surface is well preserved; some cracks are visible in the thicker paint layers and impasto.
The lower edges present some wear marks and there is a paint loss in the lower right corner.
The work has been inspected framed. No restoration is apparent when examined under ultraviolet light.
Please note: Condition 16 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Private collection, Sweden
Galerie Art & Public, Geneva
Private collection, Switzerland (acquired from the above by the family of the present owner)
Alexis Poliakoff, Serge Poliakoff, Catalogue Raisonné: 1955-1958, Vol. III, Munich 2010, p. 88, no. 59-62 (illustrated in colour)
Le Figaro Magazine, 18 September 2004, p. 75 (illustrated in colour)
St. Gallen, Galerie Im Erker, Serge Poliakoff, February - April 1962, no. 17
Lausanne, Galerie Bonnier, Serge Poliakoff, September 1962, no. 13
Stockholm, Svensk-Franska Konstgalleriet, Serge Poliakoff, November - December 1962, no. 13
This work is registered in the Archives Serge Poliakoff under number 959069.
It’s only during his second stay in Paris that Serge Poliakoff started to explore abstraction. Having studied the works of Sonia and Robert Delaunay and Wassily Kandinsky, he then developed his own pictorial language: fields of colour in non-geometrical shapes, which today are part of his emblematic and recognizable style.
He explored the infinite possibilities and variations of arranging and rearranging these shapes on the picture place, like a jigsaw puzzle, playing with outlines, colours and proportions, until he arrived at an internal harmony between the elements, just as orchestral musicians tune their instruments in order to perfect their pitch. In the present work, painted in 1959, blue and white shapes stand out of the canvas, approximatively in the middle; they are separated but intrinsically connected, in a “Yin and Yang” compositional balance. Poliakoff aims to bring the viewer to a realm of spirituality, meditation and contemplation.