L13023

/

拍品 301
  • 301

Josh Smith

估價
10,000 - 15,000 GBP
Log in to view results
招標截止

描述

  • Josh Smith
  • Untitled
  • signed and dated 2007 on the overlap
  • oil on canvas
  • 152.4 by 121.9cm.; 60 by 48in.

來源

Jonathan Viner, London
Acquired directly  from the above by the present owner in 2007

展覽

London, Jonathan Viner, Josh Smith: Fortescue Avenue, 2007

出版

Exhibition Catalogue: London, The Saatchi Gallery, Abstract America: New Painting, 2008, p. 97, illustrated in colour

Condition

Colour: The colours in the catalogue illustration are fairly accurate. Condition: This work is in very good condition. No restoration is apparent when examined under ultra-violet light.
"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."

拍品資料及來源

Throughout his career to date, Josh Smith has created paintings which employ a diverse range of materials, seeking to forge an entirely innovative form of artistic expression. Although Smith has experimented with various painterly techniques and methods, a recurring leitmotif of prime importance has been the display of his own name or initials. Reproduced in an astonishing variety of media and styles, Smith forges a uniquely personal form of self-portraiture through the repetition of his own name in a variety of different formats. Adam O’Reilly notes that: “Smith’s name has always been a departure from which to explore abstraction” (Adam O’Reilly, ‘Between a Name and a Signature: Q + A with Josh Smith,’ Art in America, February 11 2011, n.p.). Untitled, dating from 2007, fulfils this maxim, appearing to be a powerfully wrought abstract work on first glance; however, closer inspection reveals the bold J and S making their indubitable mark upon the canvas.