Marlow Moss

W.F. Nijhoff, Lausanne
Private Collection, Germany
Sale: Christie's, Amsterdam, June 5, 1996, lot 366
Private Collection, Zurich (acquired at the above sale and sold: Sotheby's, London, November 22, 2016, lot 14)
Acquired at the above sale

London, Hanover Gallery, Marlow Moss: Sculptures, Paintings, 1958, no. 7
Amsterdam, Stedelijk Museum, Marlow Moss, 1962, no. 40 (titled wit, geel, blauw, rood en zwart)
Arnhem, Gemeentemuseum, Marlow Moss: Space, Movement, Light, 1995

Florette Dijkstra, Marlow Moss: Constructivist + the Reconstruction Project, Penzance, 1995, no. S55, illustrated in color n.p. (titled White, Yellow, Blue, Red and Black)

The following condition report has been prepared by Philip Young of Philip Young Conservation, London. The painting was examined at Bond Street. Condition is sound, and the appearance is good; there are scattered and fairly extensive areas of retouching and restoration throughout, including to the frame. STRUCTURE AND CONDITION The painted canvas is contained within the painted timber frame; there are signs that this frame may have been repainted (perhaps by the artist, as it has been subject to later restoration and retouching) at some point, the paint lapping around halfway onto the sides of the canvas is applied so the lines of frame paint at the edges of the painting are not straight. The painting has apparently been recently restored. The stretcher keys are held in position with thread, the back of the canvas is seen to be in good condition with no evidence of significant loss or damage. Labels have been transferred to mountboard. The stretcher appears to be the original. In the lower dark colours there is a fine and stable network of drying cracks and what appears to be a reversible surface blooming, as noted in the image. There are numerous areas of retouching, as noted approximately in the image, with some 10-20mm across in the upper and lower centre. On the whole the retouchings are small and restrained, as seen in UV. Most of the larger retouchings appear relatively matte and pale in glancing light. The outer frame is also filled and retouched over the corner mitres and the join where it meets the edge of painting sat within it. There is a partly restored but still apparent small sharp dent in the lower left, as noted. In addition there are networks of fine paint cracks scattered over the surface apparent in close viewing. The restoration would appear to address scattered areas of paint loss, these losses would have presumably been consolidated, filled and inpainted, apart from the smallest spot retouchings which may have addressed small points of wear to the paint surface. In the upper right yellow the surface has apparently had varnish applied, this may also be present elsewhere, and is likely to be part of this restoration. The paint appears to be stable and sound following the restoration.
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.