Lot 112
  • 112

Theodoros Stamos

Estimate
150,000 - 200,000 USD
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Description

  • Theodoros Stamos
  • Phoenix 
  • signed; signed on the stretcher
  • oil on canvas
  • 56 by 52 in. 142.2 by 132.1 cm.
  • Executed in 1960.

Provenance

Galleria del Naviglio, Milan
Louis K. Meisel Gallery, New York
Sotheby's, New York, 4 May 1987, Lot 16 
Viviane Bregman Fine Art, New York
Acquired from the above by the present owner in May 2004

Exhibited

New York, André Emmerich Gallery, Theodoros Stamos, January - February 1961
Zurich, Knoedler, Theodoros Stamos: Works from 1945-1984, June - August 1984, cat. no. 44, p. 145, illustrated in color 

Condition

This work is in very good condition overall. The edges of the canvas are fabric-taped. There is very light evidence of handling along the edges including faint and unobtrusive hairline craquelure at the pull margins. Under very close inspection, a pinpoint black media accretion is visible on the top edge approximately 12-inches from the upper left corner and a pinpoint white media accretion is visible in the lower right corner, both likely from the time of execution. Under Ultraviolet light inspection, 5 small spots in the red painted area fluoresce darkly and appear to have benefitted from light retouching. Framed. Please note the auction begins at 9:30 am on November 17th.
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.

Catalogue Note

"The work of Theodoros Stamos, subtle and sensuous as it is, reveals an attitude towards nature that is closer to true communion [with nature]...Stamos is able therefore to catch not only the glow of an object in all its splendor but its inner life with all its dramatic implications of terror and mystery. In doing so he makes clear the important difference between the sense of nature and the act of worship."

Barnett Newman in Exh. Cat., New York, Betty Parsons Gallery, The Ideographic Picture, January 1947