Lot 41
  • 41

Monir Farmanfarmaian

Estimate
35,000 - 50,000 GBP
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Description

  • Monir Farmanfarmaian
  • The Wall
  • mirror, reverse-glass painting and aluminium 
  • 49 by 71 by 8cm.; 19 1/4 by 28 by 3in.
  • Executed in 1976.

Provenance

Private collection, London (acquired circa 1980-1989)
Private Collection, Switzerland 
Acquired from the above by the present owner in 2012

Literature

Rose Issa, Monir Sharoudy Farmanfarmaian; Mosaics of Mirrors, Tehran, 2006, p. 118, illustrated

Condition

This work is in good condition. There are some light rub marks to the outer and inner edge of the aluminium frame. There is a small indentation to the clear mirror on the upper right centre of the vertical panel. There is a slight misalignment to the lower left corner tip of the aluminium frame resulting in a 2mm gap which is visible in catalogue illustration. All scratches and dents to the mirrors are inherent to the artist's working process. The catalogue illustration fails to convey the depth and reflective nature of the mirrors
"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

'Monir's fearlessness for experiment was nourished, no doubt, by her years spent in New York, her classes at the Art Students League, and her contact with a boisterous art world and the likes of Alexander Calder, Willem de Kooning, Jackson Pollock, Joan Mitchell, as well as a new generation of artists from whom John Cage was something of a spiritual leader, all of whom were defining what would become the foundation for twentieth-century American art.' Kay Larson, 2014