- 75
Jan Schoonhoven
Estimate
80,000 - 120,000 EUR
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Description
- Jan Schoonhoven
- R73-6
- signed twice, titled R73-6 and dated twice 1973 on the reverse
Wood, cardboard, paper and emulsion paint
- 60 by 50 cm.
Provenance
Galerie Sud, Amsterdam
Acquired by the present owner from the above in 1984
Condition
Colours:
The colours in the catalogue illustration are fairly accurate.
Condition:
Very minor hairline cracks to the painted surface in allmost all the corners due to construction. Otherwise in very good condition.
"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."
"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
The colours of the spectrum are replaced by one colour only, the one that posseses the greatest number of possibilities. Monochrome not only mirrors a spiritual, immaterial dimension but also reflects the irresistible fascination of space and depth, especially in the case of R73-6, whose individual elements now thrust more forcefully into the room.
"With the transition to the monochromatic, on the one hand, whose potential possibilities open up to him in the decisive year of 1960, and those of neutral serialism, on the other, Schoonhoven recaptured the free 'signature'of the former informel painter. To be sure, through his work within the neutral grid he anticipates characteristic aspects of Minimal Art, but in his insistence of craftsmanship there also resides a principle difference from the specific object in that movement: in his work on the series, he insists on the individual production of single elements. The transition to simple geometry is, of course, a confession of faith in objectivity, although the transition, in the case of Mondrian, is always intuitively based; within the tightly delineated borders of geometry, however, subjectivity should be able to unfold itself: "If I have a right angle and glue it in such a way and make a relief, then it should still- so I think- be a little poetic. Yes, so it lives". With his hand-work, Schoonhoven seeks the animation of the grid, thereby breaking down the pure objectivity of the geometric norm.
(Source: G. Finckh, Jan J. Schoonhoven- retrospektiv, Dusseldorf 1995, p.69)
"With the transition to the monochromatic, on the one hand, whose potential possibilities open up to him in the decisive year of 1960, and those of neutral serialism, on the other, Schoonhoven recaptured the free 'signature'of the former informel painter. To be sure, through his work within the neutral grid he anticipates characteristic aspects of Minimal Art, but in his insistence of craftsmanship there also resides a principle difference from the specific object in that movement: in his work on the series, he insists on the individual production of single elements. The transition to simple geometry is, of course, a confession of faith in objectivity, although the transition, in the case of Mondrian, is always intuitively based; within the tightly delineated borders of geometry, however, subjectivity should be able to unfold itself: "If I have a right angle and glue it in such a way and make a relief, then it should still- so I think- be a little poetic. Yes, so it lives". With his hand-work, Schoonhoven seeks the animation of the grid, thereby breaking down the pure objectivity of the geometric norm.
(Source: G. Finckh, Jan J. Schoonhoven- retrospektiv, Dusseldorf 1995, p.69)