- 42
Carl Andre
Estimate
1,200,000 - 1,600,000 USD
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Description
- Carl Andre
- Equivalent V
sand-lime brick (1966)/firebrick (1969), 120-unit rectangular solid on floor; 2 high x 5 stretcher x 12 header
- each: 2 1/2 x 4 1/2 x 9 in. overall: 5 x 45 x 54 in. each: 6.4 x 11.4 x 22.9 cm. overall: 12.8 x 114.3 x 137.2 cm.
- Executed in 1966 -1969, this work is to be offered with a certificate of authenticity signed by the artist and dated New York 28 Apr 90.
Provenance
Acquired by the present owner from the artist in 1969
Exhibited
New York, Tibor de Nagy Gallery, Carl Andre, 1966 (the sand-lime work)
New York, Dwan Gallery, Carl Andre, 1969 (the present lot)
New York, L&M Arts, Elemental Form, 2006
New York, Dwan Gallery, Carl Andre, 1969 (the present lot)
New York, L&M Arts, Elemental Form, 2006
Literature
Exh. Cat., The Hague, Haags Gemeentemuseum; Eindhoven, Stedelijk Van Abbemuseum, Carl Andre, 1987, cat. no. 66-5
Exh. Cat., Krefeld, Haus Lange und Haus Esters and Wolfsburg, Kunstmuseum, Carl Andre Sculptor, 1996, p. 121, illustrated (the first version in Carl Andre at Tibor de Nagy Gallery, New York in 1966)
Exh. Cat., Krefeld, Haus Lange und Haus Esters and Wolfsburg, Kunstmuseum, Carl Andre Sculptor, 1996, p. 121, illustrated (the first version in Carl Andre at Tibor de Nagy Gallery, New York in 1966)
Condition
This work is in excellent condition overall. Sand lime brick was used for the 1966 version. The present work consists of firebrick, a sturdier material. The bricks have a rough surface and variation of color and texture as is inherent to the material. Overall there are minor chips and minor losses around the edges and corners of some of the bricks.
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
The present work was conceived as part of a single 8-part work titled Equivalent exhibited at Andre's second one-man show at the Tibor de Nagy Gallery. Each unit consisted of 120 bricks arranged in equivalent masses but different shapes; each was 2 bricks high but the length and width varies. The Equivalents also had a mathematical balance between the total area of covered floor and the remaining floor of the gallery. To involve the viewer, the units were spaced so that the gallery visitor could walk easily among them, gaining a full sense of various ``equivalences'' of the overall work. The artist destroyed all but one, Equivalent VII, from the original 1966 show and the present work is one of seven that were recreated in firebrick as individual sculptures in 1969. In 1995, Andre also created Sand-Lime Instar as an eight unit single work as in the 1966 installation.
In a 1967 Dwan Gallery exhibition in Los Angeles, Andre created an installation titled Cuts, which is the inverse of Equivalents. The gallery floor was covered by bricks with eight voids in the proportions of the individual Equivalents. Thus the solid forms from 1966 become the negative space in 1967.
In a 1967 Dwan Gallery exhibition in Los Angeles, Andre created an installation titled Cuts, which is the inverse of Equivalents. The gallery floor was covered by bricks with eight voids in the proportions of the individual Equivalents. Thus the solid forms from 1966 become the negative space in 1967.