- 167
Brice Marden
Estimate
500,000 - 700,000 USD
bidding is closed
Description
- Brice Marden
- Air & Water
- signed, titled and dated 1982 on the reverse
- oil on canvas
- 24 by 18 in. 61 by 45.7 cm.
Provenance
Peder Bonnier Inc., New York
Acquired by the present owner from the above in 1987
Acquired by the present owner from the above in 1987
Condition
Thank you for your interest in this lot. This painting is in very good condition overall. Kindly refer to the department for a condition report prepared by Terrence Mahon.
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.
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
"Marden had established equivalence between color, surface and shape, and had brought his canvas to its most reductive state by 1965. He could not subdivide a work of this kind internally without fragmenting its unity. In order to combine colors and shapes and not violate the indivisible quality of his canvas, it was necessary to develop an entirely new format. [...] The concept of combining units which are equal to each other in all respects aligns him with the Minimalists. [...] He was, and is, first and foremost, a painter." (Exh. Cat., New York, The Solomon R. Guggenheim Museum, Brice Marden, 1975, p.14)