KENNETH NOLAND | Sand

Collection of Jules Olitski, New York (gift of the artist circa 1964)
Acquired from the above by the present owner in 1984

Kenworth Moffett, Ed., Jules Olitski, New York 1981, p. 207, illustrated

This work is in very good condition overall. There is light evidence of wear and handling along the edges. The canvas is slightly loose on its stretcher. The colors are bright, fresh and clean. Under very close inspection, a light yellow spot accretion is visible at each of the extreme edges of the unpainted canvas, a few minor and unobtrusive pinpoint spot accretions are visible in the periwinkle band, a pinpoint white media accretion is visible in the ochre band and a faint black abrasion is visible beneath the maroon band on the left. Under raking light, there are three small spots of irregular surface texture in the maroon band. Under Ultraviolet inspection, the aforementioned irregularities fluoresce darkly. Framed.
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.

"It took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don't know but what the very nature of our response to art is experienced symmetrically."
Kenneth Noland