Details

Provenance

Leo Castelli, New York Acquired directly from the above by Renilde Hammacher-van den Brande for the Peter Stuyvesant Collection in 1979

Exhibited

Hasselt, Provinciaal Museum, A Choice within a Choice , 1981-1982 Zevenaar, Turmac, Kunstwerk, Elf bedrijven te Gast bij de Jubilerende Peter Stuyvesant Stichting , 1985, p. 24, illustrated Amsterdam, Beurs van Berlage, Kunstzaken , 1988-1989 Arsac en Médoc, Château d'Arsac (& travelling), Av enture dans l'Art, Collection Peter Stuyvesant , 1989 Zevenaar, Turmac, 30 Jaar Peter Stuyvesant Collectie: Hommage à Spinoza , 1990 Amsterdam, Stedelijk Museum, Art Works: International Modern Art in the Industrial Working Environment, an Experiment over more than Thirty Years: Peter Stuyvesant Foundation , 1991-1992, pp. 39, 127, illustrated in colour Barcelona, Fondación Miró; Zaragoza, Palacio de la Lonja; Valencia, Museo de la Ciudad, El Arte Funciona , 1992 Paris, École Nationale Supérieure des Beaux Arts, l'Art Actif , 1992 Condition Colours:<br>The colours in the catalogue illustration are fairly accurate although the overall tonality is slightly softer in the original.<br><br>Condition:<br>This work is in very good condition. The canvas is slack. There are 4 small shining splashes to the centre of the left half and two further areas of discolouration towards the bottom of the right half of the composition. There are some superficial fibre adhering in places to the surface and two very small white rub marks alongside the bottom left edge. The light grid on the surface visible in the catalogue illustration is inherent to the artist's working process. No restoration is apparent when examined under ultraviolet 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalog summary

Kenneth Noland Imbued signed, titled and dated 1979 on the reverse acrylic on canvas 173 by 319cm.; 68 1/8 by 125 5/8 in. Provenance Leo Castelli, New York Acquired directly from the above by Renilde Hammacher-van den Brande for the Peter Stuyvesant Collection in 1979 Exhibited Hasselt, Provinciaal Museum, A Choice within a Choice , 1981-1982 Zevenaar, Turmac, Kunstwerk, Elf bedrijven te Gast bij de Jubilerende Peter Stuyvesant Stichting , 1985, p. 24, illustrated Amsterdam, Beurs van Berlage, Kunstzaken , 1988-1989 Arsac en Médoc, Château d'Arsac (& travelling), Av enture dans l'Art, Collection Peter Stuyvesant , 1989 Zevenaar, Turmac, 30 Jaar Peter Stuyvesant Collectie: Hommage à Spinoza , 1990 Amsterdam, Stedelijk Museum, Art Works: International Modern Art in the Industrial Working Environment, an Experiment over more than Thirty Years: Peter Stuyvesant Foundation , 1991-1992, pp. 39, 127, illustrated in colour Barcelona, Fondación Miró; Zaragoza, Palacio de la Lonja; Valencia, Museo de la Ciudad, El Arte Funciona , 1992 Paris, École Nationale Supérieure des Beaux Arts, l'Art Actif , 1992 Condition Colours:<br>The colours in the catalogue illustration are fairly accurate although the overall tonality is slightly softer in the original.<br><br>Condition:<br>This work is in very good condition. The canvas is slack. There are 4 small shining splashes to the centre of the left half and two further areas of discolouration towards the bottom of the right half of the composition. There are some superficial fibre adhering in places to the surface and two very small white rub marks alongside the bottom left edge. The light grid on the surface visible in the catalogue illustration is inherent to the artist's working process. No restoration is apparent when examined under ultraviolet 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."