CHRISTO (1935-2020)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
CHRISTO (1935-2020)

The Gates (Project for Central Park, New York City)

CHRISTO (1935-2020)
The Gates (Project for Central Park, New York City)
signed, titled and dated 'The Gates (Project For Central Park, New York City) 1992 Christo' (lower edge); signed, inscribed and dated '© CHRISTO 1992' (on the reverse)
wax crayon, graphite, charcoal, enamel on photograph by Wolfgang Volz on paper, in Plexiglas box
14 1⁄4 x 11 1⁄4 x 1 1⁄4in. (36.2 x 28.6 x 3.2cm.)
Executed in 1992
Private Collection, USA (acquired directly from the artist).
Anon. sale, Christie's New York, 15 November 1995, lot 380.
Acquired at the above sale by the present owner.
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.
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.

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Lot Essay

The Gates embodied the transcendent ephemerality that characterised the work of Christo and Jeanne-Claude. For sixteen days, New York City’s Central Park ‘bloomed’ with 7,503 gates from which saffron-colour fabric panels were suspended; the colour was inspired by Torii, the structures flanking the entrance walkways to Japanese Shinto shrines (‘The Gates’, Christo and Jeanne-Claude, Throughout the park the gates snaked, a shock of colour brightening the wintery ground through which visitors strolled and meandered. The artwork took more than three decades to realise, a process which the present work memorialises. Indeed, The Gates (Project for Central Park, New York City) shows measurements and preliminary sketches, underscoring just how meticulous Christo and Jeanne-Claude’s methods were. As Christo liked to note, ‘…our projects have the two distinct periods: the software period and the hardware period. The software period is where the work exists in the mind of the thousand people who try to stop us and the thousand people who try to help us. And this is the period when the work exists only in the mind and in the drawings. And then there is the hardware period, where the project gets built’ (Christo interviewed by B. Rose, Interview, 10 March 2014).

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