Lot 124
  • 124

Kenneth Noland

Estimate
80,000 - 120,000 GBP
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Description

  • Kenneth Noland
  • April in Balance
  • signed, titled and dated 1971 on the reverse
  • acrylic on canvas
  • 236.5 by 128 cm. 93 1/8 by 50 3/8 in.

Provenance

André Emmerich Gallery, New York
Private Collection, United States
Christie's, New York, 19 November 1992, Lot 420
Studio d'Arte Contemporanea Dabbeni, Lugano
Private Collection, Europe
Sotheby's, London, 18 October 2014, Lot 187
Acquired from the above by the present owner

Exhibited

Lecco, Musei Civici, Scuderi di Villa Manzoni, Piero Dorazio e Kenneth Noland, 1996

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the vertical bands of yellow and pink are slightly lighter in the original. Condition: This work is in very good condition. Very close inspection reveals some minor wear to the corners. Further very close inspection reveals some pin-prick sized media accretions in places, and the yellow paint appears to have been applied irregularly. No restoration is apparent when examined under ultraviolet 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 compositional idea of the plaids was to interweave vertical bands with horizontal ones so that the whole surface is laced together (...) the interlace is a way to relate distant parts, to give pictorial continuity across a flattened surface. Everything is kept frontal, and the layout suggests openness and encourages the spreading of attention, taking the whole at a single glance.”

KENWORTH MOFFETT

Kenneth Noland, New York 1977, p. 74