- 222
Paul Burlin
Estimate
20,000 - 30,000 USD
bidding is closed
Description
- Paul Burlin
- Figure
- signed; signed on the stretcher
- oil on canvas
- 51 1/4 by 59 in.
- 130.8 by 150 cm.
Provenance
Acquired from the artist by the present owners through exchange, 1954
Condition
Canvas is not lined. SURFACE: in good condition; minor, scattered craquelure at center and center, right UNDER ULTRA VIOLET: no apparent inpainting
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
Paul Burlin was one of the youngest exhibitors at the famous 1913 Armory Show in New York. In the early 1920s he settled in Paris where he lived for the next decade, developing a modernist style which became increasingly abstract. He returned to New York in 1932 and by the 1950s he was fully engaged with Abstract Expressionism. The present work dates from his artistic residency at Washington University, to whom it was presented in 1954. The Mildred Lane Kemper Art Museum is part of the Sam Fox School of Design & Visual Arts at Washington University.