Sabri Berkel

Acquired from the artist by the present owner in 1970

The board is flat and even. Apart from a number of scattered surface abrasions in the purple pigments below and to the right of the main pink form (not visible in the catalogue illustration), this work is in good overall condition, with no signs of retouching visible under ultra-violet light. Presented in a simple modern white frame. The colours are slightly lighter than in the catalogue illustration, and the central form more pink.
"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."

Sabri Berkel studied at the Belgrade Fine Arts School and later studied fresco and engraving at the Florence Fine Arts Academy. In 1948 he attended the Andre Lhote studio and on his return to Turkey, began a long teaching career at the Academy of Fine Arts which lasted until 1974. His passion for abstraction appeared even in his early Cubist figurative compositions but especially later on in his spot/stain paintings. He preferred painting on board to canvas, to avoid the texture of the canvas from distracting from his colours and shapes. Despite the flatness of the board, his spots of colours take on a three-dimensional form and exude a light from within. Berkel was very interested in the study of colour, geometry and mathematics and how different colours played out against each other visually and psychologically to lend his pictures a third dimension. His geometric abstractions were groundbreaking for Turkish modern art and as a teacher he was able to instill this sense of the new and experimental in his students.