Jean-Pierre Pincemin

Private Collection, France (acquired directly from the artist)

Clermont-Ferrand, Musée d'art Roger-Quilliot, Jean-Pierre Pincemin : Foreign Office, 18 mai - 26 août 2001
Roubaix, La Piscine, Musée d'Art et d'Industrie André Diligent; Angers, Musée des Beaux-Arts; Céret, Musée d'Art Moderne, Jean-Pierre Pincemin, 2 April - 10 October 2010; catalogue, p. 81, no. 40, illustrated in colour 
Paris, Galerie Jacques Elbaz, Jean-Pierre Pincemin, Peinture 1986-2004, 28 September - 26 November 2011; catalogue, p. 33, no. 13, illustrated in colour

Jean Pierre Pincemin–Monkey Business, Paris, 1998, p. 58, illustrated in colour
Ninety, Art des années 90, Jean-Pierre Pincemin, n°21, Paris, 1996, p. 14, illustrated

The colours are fairly accurate in the printed catalogue illustration although the overall tonality is slightly softer in the original work. The work is executed on its original canvas and is not relined. Wears are located at each of the four corners. A tiny paint loss is located on the left rim, visible only under close inspection. The surface presents some irregularities inherent to the artist technique. Under Ultra Violet Light inspection there is no evidence of restoration. This work is in very good condition.
"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."

"To do, not do, say, keep quiet, reveal. To fight. From the beginning, Pincemin's work is produced through involution, without being about evolutions, or ruptures, despite appearances. All the truth about Pincemin's work can be held within this frail margin, rare and elusive, tending towards the perfect. From the verb to perfect." Catherine Flohic, Ninety: Art des années 90 / Art in the 90's: Jean-Pierre Pincemin, Paris, 1996, p. 10 An unclassifiable artist of eclectic and protean works, Jean-Pierre Pincemin was doubtless one of the most singular artists of his time. A leading figure of the Supports/Surfaces movement at the beginning of the 1970s, he progressively distanced himself from the other members of the group, refusing all stylistic allegiance and considering the distinction between figurative and non-figurative art to be meaningless and unimportant. He conjugates minimalism and the celebration of beauty in painting better than any other artist from his generation. As demonstrated by this exceptional group of six historical and monumental works which retrace in unique fashion the artist's career and illustrated in later pages of this catalogue, Pincemin indeed stood radically apart from his peers by his transgressive posture as by the unparalleled materials and techniques he used.



This work is accompanied by a certificate of authenticity issued by Jacques Elbaz.