Sean Scully (b. 1945)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A EUROPEAN COLLECTION
Sean Scully (b. 1945)


Sean Scully (b. 1945)
signed, inscribed and dated 'JAN /1994/MONACH/Sean/Scully' (on the reverse)
oil on two canvases, joined
60 x 48 in. (152.4 x 121.9 cm.)
Acquired directly from the artist by the present owner.
Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Sean Scully, March - June 2001, no. 20: this exhibition travelled to Munich, Stifting Haus der Kunst, June - September 2001.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Sale room notice
Please note the provenance for this picture is: with Galerie Bernd Klüser, Munich, where purchased by the present owner, and not as stated in the catalogue.

Brought to you by

André Zlattinger
André Zlattinger

Check the condition report or get in touch for additional information about this

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay

Sean Scully: On Colour

'Thinking about the colour in my work, and its darkness ... I often think about how the light in my work - the light produced by this colour, which is so emphatically attached to its own body weight, its own gravity - has a tendency to to fall back into the painting. The painting has to be opened up.

The colour, of course, could be opened up. Red could be bright red. Yellow could be the colour of flowers. And green could be leaf green. This would make the painting more immediate, more obviously communicative, more readily available ... and less burdened by the issue of interior content.

My painting, however, is a compression: a compression of form, edge, weight. And colour participates in this density. The painting is immediate since it is painted aggressively, by hand; yet it is difficult because it is compressed. The light in the painting has to be opened up, pulled out.

And it is exactly this difficulty that gives the work its interior life. It is an incarnation, not an explanation'

The Artist, May 2004.

(see F. Ingleby, Sean Scully, Resistance and Persistence: Selected Writings, London, 2006, p. 36).

More from Modern British Art Evening Sale

View All
View All