Details
Description
LeWitt
No Title, 1956
Oil paint on Masonite
Dimension: 24 x 24 in.
Notes: Signed in graphite on verso with …
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LeWitt
No Title, 1956
Oil paint on Masonite
Dimension: 24 x 24 in.
Notes: Signed in graphite on verso with what appears to be “LEWITT" and is clearly dated "1956"; the back of the Masonite is a textured surface. The signature and date are visible on back of the painting through the framing construct.
Condition: Fair. Its overall presentation is strong and substantial. The paint surface was cleaned by a conservator using cotton swabs and distilled water. There are minor cracks in some of the thickest impasto areas. There was intentionally no treatment to the distressed Masonite edges or existing losses of the Masonite to maintain its present authentic condition and to avoid creating false edges and imagined in-painting. The work is fitted to float within an open-face box frame with a complementary wood color and grain to highlight the work and also slightly lessen the appearance of some losses to the Masonite edges. A rectangular edge of the frame's backing is open for visual access to the signature and date.
Framing orientation. The frame is designed to be able to hang in two ways.
Notes: A receipt stamped with "Greenwich Paint Pro." and its address in Manhattan, from 1996, is available.
Overview: The work is a strong, representative abstract expressionist painting from the period; it is enjoyable to live with and appreciate.
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- Dimensions
- 24ʺW × 1.75ʺD × 24ʺH
- Art Subjects
- Abstract
- Frame Type
- Framed
- Period
- 1950s
- Country of Origin
- United States
- Item Type
- Vintage, Antique or Pre-owned
- Materials
- Masonite
- Oil Paint
- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Black
- Condition Notes
- Fair. Its overall presentation is strong and substantial. The paint surface was cleaned by a conservator using cotton swabs and … moreFair. Its overall presentation is strong and substantial. The paint surface was cleaned by a conservator using cotton swabs and distilled water. There are minor cracks in some of the thickest impasto areas. There was intentionally no treatment to the distressed Masonite edges or existing losses of the Masonite to maintain its present authentic condition and to avoid creating false edges and imagined in-painting. The work is fitted to float within an open-face box frame with a complementary wood color and grain to highlight the work and also slightly lessen the appearance of some losses to the Masonite edges. A rectangular edge of the frame's backing is open for visual access to the signature and date. less
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