Larry Poons

Green Gallery, New York
Robert Scull, New York
Private Collection, New York
James Rosenquist, New York
Bernard Jacobson Gallery, London and New York
Acquired by the present owner from the above

San Francisco Museum of Art, A National Invitational Exhibition Selected by the Annuals Committee of the San Francisco Art Institute in Collaboration with the San Francisco Museum of Art, November - December 1968
Roslyn, Nassau County Museum of Art, Contemporary American Masters: The 1960s, June - September 1999
New York, Bernard Jacobson Gallery; London, Bernard Jacobson Gallery, Larry Poons Five Decades, May - September 2004, cat. no. 6, illustrated

This work is in good condition overall. The edges of the canvas are fabric taped which has come loose at the upper right edge. There is evidence of light wear and handling along the edges, including faint white abrasion marks and hairline craquelure at the pull margins where the paint layer is thicker. The canvas is taut on its stretcher. Under very close inspection, some scattered white media accretions are visible and there is a minor drip accretion at the lower left edge. Under Ultraviolet light inspection, the aforementioned drip accretion at the bottom and abrasions along the lateral edges fluoresce lightly but do not appear to be the result of restoration. Also under Ultraviolet light inspection, an approximately 10 inch horizontal line from the lower left edge fluoresces and appears to be the result of a previous repair. Please note the upper half of the canvas has not been inspected under blacklight. 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.

"The important thing is the interrelationship between all the colors. And whatever that relationship might end up being, you know, is the way the painting is going to look." Larry Poons

A quintessential work, Mary Queen of Scots serves as a prime example from Larry Poons’ 1965 series of pulsating "Dot" paintings which garnered much acclaim for the artist within the earliest years of his artistic career. With this seminal series, Poons strategically layered vibrant ovals and disks through a weaving grid painted atop a brilliantly colored background to construct this powerful visual effect. These paintings have been most closely associated with the Op Art movement, but unlike the paintings of other optical artists such as Bridget Riley or Victor Vasarely they maintain also a subtle fluidity and a somewhat painterly impression.

The present work, like many of the artist's "Dot" paintings, also demonstrates an early interest that the artist held in Color Field painting, a movement which he would gravitate towards in following years. While the degree of geometric precision and his use of rich, saturated pigments anchor this work within the realm of Op Art, the immersive quality of these large scale paintings recalls other associations, such as the celebrated zip paintings of Barnett Newman, a key influence in the life and career of Larry Poons. Poons first met Barnett Newman when he moved to New York City in 1957 at the very young age of 20. At this time, Poons' father was determined to dissuade his son from pursuing his creative passion professionally, but after a fortuitous meeting with Newman, Poons' father was undoubtedly convinced that becoming an artist was, in fact, "a worthy profession." In a 1965 interview, Poons cites Newman as one of three artists (the others being Piet Mondrian and Frank Stella) who have significantly inspired him. Looking at these three primary influencers, we can see traces of Poons' keen eye and appreciation for sharp forms, strong colors, and immersive scale and can glean a heightened appreciation for this artist's total mastery of a painter’s most essential and primary tools.