Lot 137
  • 137

David Smith

Estimate
200,000 - 300,000 USD
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Description

  • David Smith
  • Untitled (Nude)
  • enamel on canvas
  • 49 5/8 by 30 3/8 in. 126 by 77.2 cm.
  • Executed in 1964, this work is stamped by the Estate of David Smith and numbered 7564.202 on the reverse.

Provenance

Gagosian Gallery, New York
Acquired by the present owner from the above

Exhibited

New York, Gagosian Gallery; London, Gagosian Gallery, David Smith: Personage, March - December 2006, cat. no. 64, p. 119, illustrated

Condition

This work is in very good condition overall. There is evidence of fine and stable craquelure at the pull margins and in the densely-painted enamel areas. There is slight and unobtrusive soiling to the surface and an area of discoloration along the upper-left edge located approximately 2 in. from the top edge. There is a small, faint scuff mark located 2 ½ in. from the right edge and 6 ½ in. from the bottom edge. There is no apparent evidence of restoration visible when examined under UV light. Framed.
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

"In 1964 David Smith printed a series of female nudes that he thought enough of to exhibit with his Cubi sculptures, which seem so different that them in their geometrical vocabulary and celebration of light and space. The paintings are, in fact, intimately related to these great sculptures, and to Smith's sculpture in general, and wonderfully revealing about Smith the artist and man. With the most direct and economical means - black or brown enamel lines running and spilling across undifferentiated grounds - Smith channeled into currents of paint some of his most basic feelings about art, nature, women and himself." - Michael Brenson, "David Smith's Embrace" (Exh. Cat., New York, Knoedler and Company, David Smith, 1995, n.p.)