L13023

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Lot 130
  • 130

Jesús Rafael Soto

Estimate
100,000 - 150,000 GBP
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Description

  • JESÚS RAFAEL SOTO
  • Verde y Rayado
  • signed, titled and dated 1993 on the reverse
  • painted wood and metal relief
  • 153 by 102cm.; 60 1/4 by 40 1/8 in.

Provenance

Elisabeth Franck Gallery, Knokke-le-Zoute
Gallery Seomi, Seoul
Acquired directly from the above by the present owner

Exhibited

Knokke-le-Zoute, Elisabeth Franck Gallery, Jesús Rafael Soto, 1994
New York, In Khan Gallery, Jesús Rafael Soto, 1994

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter and more vibrant in the original. The illustration fails to convey the three dimensional quality of the protruding elements and the optical effect apparent in the original. Condition: This work is in very good condition. Extremely close inspection reveals a small number of thin and unobtrusive hairline scratches in isolated places in the black pigment. There are some very faint handling marks along the right hand edge of the black surface and the bottom edge of the green surface. No restoration is apparent when examined under ultra-violet light.
"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 serial works led to a vibration of the painting. From there, I moved almost immediately to the superposition of two vibrations; and from this superposition, I arrived at optical movement through the displacement of the spectator in front of the stationary work.” The artist in conversation with Claude-Louis Renard in Exhibition Catalogue, New York, Solomon R. Guggenheim Museum, Soto: A Retrospective Exhibition, 1974, p. 15