Details

Provenance

Luhring Augustine, New York Private Collection Acquired from the above by the present owner Condition This work is in very good condition overall. Upon close inspection, there is evidence of stable hairline cracking in the vicinity of the leaves of the left palm tree in the upper left quadrant. Under Ultraviolet light inspection, there is no evidence of restoration. Unframed. 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. Catalogue Note "Each canvas consists of bands of lurid tropical sunset colors—blues, purples, oranges and yellows, with occasional reds and pinks—against which are silhouetted one to three spindly black-over-green palm trees. Here again, a formula is carried with a dispatch that might almost be described as automatist. Smith seems to paint in fast, slurry gestures with his mind elsewhere, as if to see which art historical references heave up from painting’s collective unconsciousness. Here, we get riffs on the 20th century’s various Expressionisms—German, Abstract and Neo—along with David Hockney, tourist art and Richard Prince." Roberta Smith, "Josh Smith," The New York Times, 10 October 2013, p. C26

Catalog summary

Josh Smith Untitled signed and dated 2013 on the overlap oil on canvas 60 by 48 1/4 in. 152.4 by 122.6 cm. Provenance Luhring Augustine, New York Private Collection Acquired from the above by the present owner Condition This work is in very good condition overall. Upon close inspection, there is evidence of stable hairline cracking in the vicinity of the leaves of the left palm tree in the upper left quadrant. Under Ultraviolet light inspection, there is no evidence of restoration. Unframed. 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. Catalogue Note "Each canvas consists of bands of lurid tropical sunset colors—blues, purples, oranges and yellows, with occasional reds and pinks—against which are silhouetted one to three spindly black-over-green palm trees. Here again, a formula is carried with a dispatch that might almost be described as automatist. Smith seems to paint in fast, slurry gestures with his mind elsewhere, as if to see which art historical references heave up from painting’s collective unconsciousness. Here, we get riffs on the 20th century’s various Expressionisms—German, Abstract and Neo—along with David Hockney, tourist art and Richard Prince." Roberta Smith, "Josh Smith," The New York Times, 10 October 2013, p. C26