Bidding on this item has ended.
Sean Scully
UNTITLED 3-7-86
Lot 42
Result:
Not Sold
Estimate:
€80,000 - €120,000
Sean Scully RA, b.1945
UNTITLED 3-7-86
Pastel on paper, 29 3/4" x 41 3/4" (75.6 x 106cm), signed and dated 3-7-86.
Provenance: David McKee Gallery, New York (label verso).
Scully, who is internationally renowned, has always embraced a very r... Read more
Lot 42
Sean Scully
UNTITLED 3-7-86
UNTITLED 3-7-86
Pastel on paper, 29 3/4" x 41 3/4" (75.6 x 106cm), signed and dated 3-7-86.
Provenance: David McKee Gallery, New York (label verso).
Scully, who is internationally renowned, has always embraced a very r... Read more
Lot 42
Sean Scully
UNTITLED 3-7-86
Estimate:
€80,000 - €120,000
Sean Scully RA, b.1945
UNTITLED 3-7-86
Pastel on paper, 29 3/4" x 41 3/4" (75.6 x 106cm), signed and dated 3-7-86.
Provenance: David McKee Gallery, New York (label verso).
Scully, who is internationally renowned, has always embraced a very restricted visual language: stripes. However, it is astonishing how within these strict boundaries he continues to surprise us, reinventing the grid over and over again. In the 1970s Scully made an impact with very meticulously precise paintings which owed a lot to the slick, impersonal surfaces of Minimalism. However, in the 1980s there was a stark change, with Scully introducing more 'physicality'. The brushwork loosened up, the edges of stripes became rougher and there was definitely more sense of the artist's presence. One could see evidence of his hand at work.
As a colourist, Scully becomes more subtle in the '80s. Here we see orangey under-tones deliberately and irregularly showing through the top layer. These orange tones animate the surface, breathing life into it. He also organises shapes to further animate a picture. Here we encounter visual tension with the black and brown rectangle that wants to come forward and sit up on the surface while simultaneously remaining locked into the vertical slab behind it. Scully also cleverly dropped the height of the right-hand grey stripe, creating 'dialogue' or visual tension between the small horizontal white space above the short slab and that black/brown rectangle diagonally across from it.
Untitled shows how the structure of his pictures became simpler and bolder, using black to give a 'punch' to the space. The colour is dragged over each component, giving it an appealing tactile quality, a roughness that's become an important part of Scully's evolving style. This vertical dragging reinforces the linear rhythm of the composition in a subtle way while also reminding is of the physical act involved in making the marks. Rhythmic is a word that's often used to describe this artist's work. In an interview with H M Herzog Scully talked about the "relentless taut musical quality": "When you have those lines, they're almost like guitar strings—in space they are vibrative."
Dr Frances Ruane HRHA
UNTITLED 3-7-86
Pastel on paper, 29 3/4" x 41 3/4" (75.6 x 106cm), signed and dated 3-7-86.
Provenance: David McKee Gallery, New York (label verso).
Scully, who is internationally renowned, has always embraced a very restricted visual language: stripes. However, it is astonishing how within these strict boundaries he continues to surprise us, reinventing the grid over and over again. In the 1970s Scully made an impact with very meticulously precise paintings which owed a lot to the slick, impersonal surfaces of Minimalism. However, in the 1980s there was a stark change, with Scully introducing more 'physicality'. The brushwork loosened up, the edges of stripes became rougher and there was definitely more sense of the artist's presence. One could see evidence of his hand at work.
As a colourist, Scully becomes more subtle in the '80s. Here we see orangey under-tones deliberately and irregularly showing through the top layer. These orange tones animate the surface, breathing life into it. He also organises shapes to further animate a picture. Here we encounter visual tension with the black and brown rectangle that wants to come forward and sit up on the surface while simultaneously remaining locked into the vertical slab behind it. Scully also cleverly dropped the height of the right-hand grey stripe, creating 'dialogue' or visual tension between the small horizontal white space above the short slab and that black/brown rectangle diagonally across from it.
Untitled shows how the structure of his pictures became simpler and bolder, using black to give a 'punch' to the space. The colour is dragged over each component, giving it an appealing tactile quality, a roughness that's become an important part of Scully's evolving style. This vertical dragging reinforces the linear rhythm of the composition in a subtle way while also reminding is of the physical act involved in making the marks. Rhythmic is a word that's often used to describe this artist's work. In an interview with H M Herzog Scully talked about the "relentless taut musical quality": "When you have those lines, they're almost like guitar strings—in space they are vibrative."
Dr Frances Ruane HRHA
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In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
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