Mary Martin

The Estate of the Artist
Annely Juda, London, where acquired by the present owner, July 1989

London, Redfern Gallery, 9 Abstract Artists, 11th - 29th January 1955, cat. no.24 (possibly);
Eindhoven, Stedlijk van Abbemuseum, Kompas II, 20th October - 10th December 1962, cat. no.53;
London, Molton & Lords Gallery, Mary Martin, February 1964, cat. no.2;
Oxford, Oxford Museum of Art, Kenneth and Mary Martin, 1970, cat. no.6, where lent by Kenneth Martin, with Arts Council Tour to Towner Art Gallery, Eastbourne, Royal Albert Memorial Museum, Exeter, Leeds City Art Gallery, Leeds and seven further destinations;
London, Tate, Mary Martin, 3rd October - 25th November 1984, cat. no.9, illustrated p.34;
Bottrop, Germany, Josef Albers Museum, Kenneth und Mary Martin, 5th March - 16th April 1989, cat. no.38;
London, Annely Juda, Kenneth and Mary Martin, 11th September - 31st October 1987, cat. no.10.

Margaret Garlake, New Art, New World: British Art in Post-War Society, Yale University Press, New Haven and London, 1998, p.114, illustrated pl.39;
Alastair Grieve, Constructed Abstract Art in England After the Second World War, A Neglected Avant-Garde, Yale University Press, New Haven & London, 2005, p.154, illustrated.

Structurally sound, there is a minor rounding-off to the top left hand corner, most probably in keeping with the artist's original technique. There are two further very small nicks to the top extreme right hand edge, and one or two tiny pressure marks to the surface of the board, only visible upon very close inspection. There is a fine crack appearing to the bottom right corner of the top left wooden wedge. There are covered nail heads apparent in all four corner, one of which the head is visible in the top right hand corner. There is very minor surface dirt to the work, and glue residue visible to some isolated spots, again only visible upon very close inspection. There is some very light scratching visible to the Perspex, and very faint minor markings and very light scratches to the sheets of stainless steel. This excepting the work appears in very good overall condition. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"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."

'The end is always to achieve simplicity but the means and processes are often complex because one is not repeating a performance of something which has gone before.  Each work is a fresh exploration, sometimes along a path opened up by the immediately previous work, but sometimes it is something that has waited to be expressed for a long time.' (Martin, quoted in an unpublished, handwritten manuscript, 1957, quoted in Mary Martin,Tate Gallery catalogue, London, 1984, p.28)