L12021

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Lot 156
  • 156

Keith Tyson

Estimate
12,000 - 17,000 GBP
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Description

  • Keith Tyson
  • Studio Wall Drawing, 1950's F.B.I.
  • titled and dated 2007

  • acrylic on paper

  • 156 by 126cm.; 61 3/8 by 49 5/8 in.

Provenance

Haunch of Venison, London
Acquired directly from the above by the present owner

Literature

Exhibition Catalogue, London, Haunch of Venison, Keith Tyson, Studio Wall Drawings 1997-2007, p. 556, illustrated in colour

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is much brighter and more vibrant in the original. Condition: This work is very good condition. The sheet is attached to a backing board at intervals on the reverse. There are artist's pin holes with a few associated tears in all four corners.
"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."

Catalogue Note

The dislocation Branon mines so well mirrors the problems not only of interpretation but also, obviously, of life itself...This is apparent in the gulf between what the work looks like (anachronistic, chic, insane) and what the, if not brutal, then at least acerbic (and often hilarious) texts accompanying the images declare.... Brannon describes his rational thus: 'I seek to play with words that are both specific in meaning and conversely teetering with inappropriate reception.' It's a strategy that both mirrors the schizophrenic relationship of advertising to reality and functions as a form of resistance to a culture nurtures on quick-fix sound-bites.

Jennifer Higgie, 'The Embarrassing Truth', Frieze, November/December 2008