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MILOS URBASEK | Königsstadt (King City)
Estimate
6,000 - 8,000 GBP
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Description
- Königsstadt (King City)
- signed Urbasek lower right
- collage on paper
- 96.5 by 76cm., 38 by 30in.
Provenance
Slovak Art Galleries Association, Bratislava
Purchased from the above by the present owner in 1975
Purchased from the above by the present owner in 1975
Condition
The artist's sheet presents scattered undulations and creases which are inherent to the artist's process. However, there appear to be some minor tears and paper losses along the edges, including one in the lower left corner and one in the upper right quadrant (both visible in the catalogue illustration). Traces of minor discolouration also appear to be inherent to the artist's process. Ultra-violet light reveals no visible sign of restoration. This work is ready to hang. Presented glazed, in a simple white frame.
"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."
"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
Executed in the 1960s.
Milos Urbásek was one of the first Slovak artists to focus on geometrical abstraction. He developed an original technique with layered collage and created unique pieces through muchlage. As Jiri Valoch remarked: ‘Urbásek’s affinity with the urban environment, with the nature of urban communication, was revised first in the collages made from fragments of found posters (from 1963), which comprise one form of his hallmark structures. Over time his theme became the letter: isolated graphemes reflecting the world of urban communication, but taken more and more out of their context and presented as an individual theme of the painting, drawing or print. ‘Liberated letters’ presented as an autonomous communicative quality either in the form of asemantic jumble (for example, in the stamp drawings), or enlarged, monumental, isolated, and discovered as a new aesthetic message reflecting the world of linguistic communication - a world which, however, it irrevocably transcends.’ His purely non-objective, non-representational art was at that time totally unacceptable to the state institutions. In 1969 Urbásek received an invitation by the Ford Foundation for a six-months sabbatical in the USA, but was prevented from accepting it by the Czechoslovak authorities.
Milos Urbásek was one of the first Slovak artists to focus on geometrical abstraction. He developed an original technique with layered collage and created unique pieces through muchlage. As Jiri Valoch remarked: ‘Urbásek’s affinity with the urban environment, with the nature of urban communication, was revised first in the collages made from fragments of found posters (from 1963), which comprise one form of his hallmark structures. Over time his theme became the letter: isolated graphemes reflecting the world of urban communication, but taken more and more out of their context and presented as an individual theme of the painting, drawing or print. ‘Liberated letters’ presented as an autonomous communicative quality either in the form of asemantic jumble (for example, in the stamp drawings), or enlarged, monumental, isolated, and discovered as a new aesthetic message reflecting the world of linguistic communication - a world which, however, it irrevocably transcends.’ His purely non-objective, non-representational art was at that time totally unacceptable to the state institutions. In 1969 Urbásek received an invitation by the Ford Foundation for a six-months sabbatical in the USA, but was prevented from accepting it by the Czechoslovak authorities.