This lot has been imported from outside of the UK … Read more

Prison with Underground Conduit

Prison with Underground Conduit
acrylic, fluorescent acrylic and Roll-a-Tex on two joined canvases
71 7/8 x 63 1/8 x 3 3/8in. (182.5 x 160.4 x 8.5cm.)
Executed in 1986
Sonnabend Gallery, New York.
Fundación Cultural Televisa, Mexico City.
Anon. sale, Sotheby’s New York, 10 November 2005, lot 429.
Acquired at the above sale by the present owner.
M. Sundell and T. Beller, 'An Interview with Peter Halley' in Splash, 1998 (illustrated in colour, unpaged).
C. Reynolds (ed.), Peter Halley: Maintain Speed, New York 2000 (illustrated in colour, pp. 197, 199, 201).
M. Diacono, Iconography and Archetypes: The Form of Painting 1985-1994, Milan 2010 (illustrated in colour on the cover and unpaged).
R. Milazzo, Skewed: Ruminations on the writings and works of Peter Halley, exh. cat, Modena, Galleria Mazzoli, 2016 (illustrated in colour, p. 72).
C. Jordan and C. Dirié (eds.), Peter Halley: Paintings of the 1980s, The Catalogue Raisonné, Zurich, 2019 (illustrated in colour, p. 199).
Special notice

This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Brought to you by

Client Service
Client Service

Lot Essay

'Then when I came to New York in 1980, the paramount issue in my work became the effort to come to terms with the alienation, the isolation, but also the stimulation engendered by this huge urban environment. [...] I’d seen Roll-a-Tex on suburban walls and was fascinated by it, and Day-Glo had always seemed very spooky and unnatural to me. [...] My first paintings of prisons were on raw canvas, with white Roll-a-Tex squares with bars in the middle. But the more I thought about alienation, the more I thought of telephones, televisions, electricity, things zipping in and out of isolated spaces, and so I felt I had to depict the support system that these isolated cells had. In the real world, they usually came from underground, so I put a second panel underneath the first to depict in section an underground conduit network feeding into the cells. It’s about above versus below-ground, visible versus hidden, and maybe even the conscious and subconscious.' PETER HALLEY

More from Post-War and Contemporary Art Day Sale

View All
View All