Louise Nevelson, ‘Untitled’, 1959, Phillips

From the Catalogue:
“I think shadow – for me it’s a remarkable thing to say – but a shadow to me seems more solid than the object it is a shadow of. Isn’t that funny? It’s very important. That’s where the mystery is, you see. And it’s wonderful… It gives you a better definition and it gives you a fourth dimension.”
Louise Nevelson
Courtesy of Phillips

Signature: incised with the artist's signature "NEVELSON" upper center

Pace Gallery, New York
Barbara Braathen Gallery, New York
Klabal Gallery, Inc., Minneapolis
Private Collection, United States (acquired from the above in March 1993)
Christie's, London, June 21, 2007, lot 418
Acquired at the above sale by the present owner

About Louise Nevelson

Louise Nevelson’s room-sized wood sculptures have been hailed as emblematic of many different movements, including Abstract Expressionism, Cubism, and Surrealism. Monochromatic and usually black, with isolated departures into white and gold, Nevelson assembled the sculptures using discarded pieces of wood that she received or found on the street. As part of Nevelson’s massive, commanding works of art, the scrap wood takes on majestic proportions, reflecting the artist’s personal story of dislocation and self-invention. In Mrs. N’s Palace (1964-1977), a 20-foot-wide tomb-like sculpture with a hollow interior, mirrored floor, and artifacts from her life, Nevelson provides a glimpse into her own physical and personal history.

American, 1899-1988, Kiev, Ukraine, based in New York, New York