Joan Mitchell

Stable Gallery, New York
Acquired from the above by the present owner in 1965

New York, Stable Gallery, Joan Mitchell, April - May 1965

This work is in very good condition overall. Please refer to the following report prepared by Terrence Mahon. Framed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"Mitchell's painting did not simply become the passive reflection of her emotional landscape but made its own demands on that landscape...As Pollock had responded to the vastness of the American West...Mitchell responded to the more contained landscape of the American Midwest and Vétheuil. Indeed, Vétheuil itself became part of Mitchell's culture more than Monet would. Though Mitchell and Monet shared its landscape, Monet's paintings are more about capturing that landscape and its changing light than are Mitchell's. Instead, her Vétheuil was merged with her Illinois. And her often wildly bristling strokes, and the concurrent need for the discipline of the canvas's grid, are in fact closer to van Gogh and Cézanne than to the structural looseness of Monet."
Klaus Kertess, Joan Mitchell, New York 1997, pp. 30-31