L13023

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拍品 364
  • 364

David Noonan

估價
12,000 - 18,000 GBP
招標截止

描述

  • David Noonan
  • Untitled
  • screenprint on birch plywood
  • 188 by 268cm.; 74 by 105 1/2 in.
  • Executed in 2006, this work is number 1 from an edition of 1.

來源

Hotel Gallery, London
Acquired directly from the above by the present owner in 2008

展覽

London, Saatchi Gallery, Out of Focus: Photography, 2012

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is much lighter and warmer in the original. Condition: This work is in very good condition. There is wear to lower extreme edge and corner tips. Upon close inspection, there are a number of tiny nicks along the top extreme edge.
"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

Reminiscent of early film stills, David Noonan’s works inhabit a world of mystery and illusion in which narrative is delicately suggested rather than definitively expressed. Formed of fascinating amalgamations of disparate photographs and film footage which is then transferred onto a canvas or wood ground through screen printing, Noonan’s images are imbued with a curiously timeless quality through their colourless tones and startling combinations of people and places. Melissa Gronlund argues that: “Noonan explores a state of what might be called temporal exile: hangovers from the past in the present, folk symbols whose meanings are forgotten and, in a more general way, the lingering nostalgia for a grandeur lost before our time” (Melissa Gronlund, ‘Future Greats: David Noonan’ in: Art Review, March 2007, p. 79). Untitled encapsulates these distinctive features to powerful effect: spectral figures seem to float across the eerie scene, as though engaged in some form of ritualistic dance, whilst bare tree branches appear to cast dramatic shadows across the image; and the result is a work of disquieting yet poetic beauty.