Niele Toroni

Kewenig Galerie, Cologne

Colours: The colours in the catalogue illustration are fairly accurate although the overall tonality is more vibrant in the original. Condition: Executed on white wove paper, this work is in very good condition and is securely hinged to the backing board in several places on the reverse. There is slight undulation to the sheet throughout, most notably along the left and right edges. There are tiny artist's pin holes in all four corners and in the centre of the three top orange squares.
"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."

Niele Toroni was the winner of the Wolfgang-Hahn-Award in 2003. The four-part work Untitled (red tableau, blue tableau, green tableau, black tableau), 1993, was acquired by the Gesellschaft für Moderne Kunst at this time for the Museum Ludwig. In addition to this, Toroni created  La Verticale Rossa as an in-situ work which he donated to the Museum Ludwig in 2007.

Thomas Kellein, director of the Kunsthalle Bielefeld and guest juror of the Wolfgang-Hahn-Award explained Toroni´s approach in the laudatio he delivered on October 30, 2003: "Toroni once fixated a constant distance of 30 centimeters between his brush strokes. He had not, as he recently mentioned, done this intuitively by length of arm or eye. On the contrary, the distance is measured with the water level and compass. To press the brush and then take it up again, with the right gesture and the right mixture of paint, that is what Toroni does. There is no call, no metaphysical concept, no content - this approach is a purification of the art industry and a singular oeuvre."