Victor Vasarely

Acquis directement auprès de l'artiste par le propriétaire actuel

Charleroi, Musée des Beaux-Arts, Vasarely Rétrospective, 1994; catalogue, p. 47, illustré
Lausanne, Musée Olympique, Victor Vasarely, 50 ans de Création, 50 years of Creation, 1995-1996; catalogue, p.62, illustré
Bottrop, Josef Albers Museum; Wolsburg, Kunstverein Museum; Ludwigshafen, Wilhelm-Hack Museum; Vasarely: Erfinder der Op-Art, 1998; catalogue, no. 97, p.140, illustré en couleurs

The colours are fairly accurate in the catalogue illustration, although the overall tonality is lighter in the original. The work is executed on its original canvas and it is not relined. Some scattered superficial thin cracks are visible under close inspection. Are only visible under very close inspection, 3 pinhead sized losses of paint in an area located approx. 28 cm from the right edge and 52 cm from the upper edge. This work is in good condition.
"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."

"Négatif-positif, transparences, photogrammes, le jeu hallucinatoire du noir et du blanc.  Ceci était le point de départ de ma découverte : une composition en blanc et noir immédiatement me donnait une deuxième composition en noir et blanc.  Les deux œuvres sont quantitativement égales, les deux identiques et à la fois diamétralement opposées:  images inversées.  J'en ai déduit, de manière philosophique, que les signes blanc et noir, l'inévitable antinomie des idées du passé comme "jour et nuit", "ange et démon", "bien et mal", sont en réalité complémentaires, une fertile idée androgyne". 
(Marcel Joray, Vasarely, Neuchâtel, 1965, p.112)

Bridget Riley, Drift 2, 1966 © D.R.