Details

Provenance

Sikkema Jenkins & Co., New York Acquired from the above by the present owner

Exhibited

Ohio, Wexner Center for the Arts; Boston, Institute of Contemporary Art; Chicago, Museum of Contemporary Art; Dallas, Dallas Museum of Art; and San Francisco, The San Francisco Museum of Modern Art, Mark Bradford , May 2010 - May 2012, p. 21, illustrated in colour Condition Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is less saturated in the original and it fails to fully convey the textured nature of the work. Condition: This work is in very good and original condition. The sheet is attached to the backing board by plastic screws in all four corners. There are artist's pinholes in places to the edges. All surface irregularities are original and all collaged elements are stable. "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." Catalogue Note “I may pull the raw material from a very specific place, culturally from a particular place, but then I abstract it. I’m only really interested in abstraction; but social abstraction, not just the 1950s abstraction. The painting practice will always be a painting practice but we’re living in a post-studio world, and this has to do with the relationship with things that are going on outside" (Mark Bradford in conversation with Susan May, in: Exh. Cat., London, White Cube, Through Darkest America by Truck and Tank, 2013-14, p. 83).

Catalog summary

Mark Bradford Untitled signed, titled and dated 2006 on the reverse mixed media collage on board 31.7 by 56.4 cm. 12 1/2 by 22 1/4 in. Provenance Sikkema Jenkins & Co., New York Acquired from the above by the present owner Exhibited Ohio, Wexner Center for the Arts; Boston, Institute of Contemporary Art; Chicago, Museum of Contemporary Art; Dallas, Dallas Museum of Art; and San Francisco, The San Francisco Museum of Modern Art, Mark Bradford , May 2010 - May 2012, p. 21, illustrated in colour Condition Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is less saturated in the original and it fails to fully convey the textured nature of the work. Condition: This work is in very good and original condition. The sheet is attached to the backing board by plastic screws in all four corners. There are artist's pinholes in places to the edges. All surface irregularities are original and all collaged elements are stable. "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." Catalogue Note “I may pull the raw material from a very specific place, culturally from a particular place, but then I abstract it. I’m only really interested in abstraction; but social abstraction, not just the 1950s abstraction. The painting practice will always be a painting practice but we’re living in a post-studio world, and this has to do with the relationship with things that are going on outside" (Mark Bradford in conversation with Susan May, in: Exh. Cat., London, White Cube, Through Darkest America by Truck and Tank, 2013-14, p. 83).