Donald Judd

number 3 from an edition of 10 and 2 production proofs

Acquired directly from Cooper/Kato by the present owner, circa 1984

Barbara Haskell, Donald Judd, New York, 1988, p. 130
Hatje Cantz, Donald Judd:  Architecture, New York, 2003, p. 113
Marianne Stockebrand, Chinati:  The Vision of Donald Judd, Marfa, TX, 2010, pp. 16 and 144

Overall in very good condition. With some scattered minor nicks, dings and scratches to the surfaces consistent with age and gentle use. With one small V-shaped surface scratch approximately 1 ½ inches long to the reverse of the seatback. One minor abrasion mark measuring 2 inches to the proper left of the front of the lower seat support. A rare example coming directly from the production company and signed by the artist.
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.

The present lot was fabricated and published by Cooper/Kato in 1984, and demonstrates Judd’s affinity for planar construction and simplified forms in his furniture designs.  Judd’s philosophy of interior design hinged on the unity of art and life, clearly showing how pared down elements in his sculptural works could be translated to functional works of furniture, as with this chair.  This model was made in a limited edition of 10, heightening its rarity, and it was purchased from the firm before any of these chairs were exhibited, remaining in the same collection since 1984.  The use of douglas fir demonstrates the craftsmanship of the dovetail construction and the wood lends a sense of warmth and tactility to an otherwise strictly architectonic form.  Judd chose to use vertical grain douglas fir in many of his works, with the wood processed in completely opposite ways: vertically sawn versus rotary peeled wood led to very different surface appearances.  There were also two production proofs of this chair made in cypress that ultimately proved to be too problematic and were never made as an edition.  Judd designed his furniture to exist in proportion with his interior spaces in New York City and Marfa, Texas, and continued to design furniture commercially with this ideology at the core of each piece.