Sean Scully, ‘The Stranger’, 1987, Alpha 137 Gallery
Sean Scully, ‘The Stranger’, 1987, Alpha 137 Gallery
Sean Scully, ‘The Stranger’, 1987, Alpha 137 Gallery
Sean Scully, ‘The Stranger’, 1987, Alpha 137 Gallery
Sean Scully, ‘The Stranger’, 1987, Alpha 137 Gallery

Printed by Chip Elwell; published by Diane Villani Editions, NY
Literature: Sean Scully Prints: Catalogue Raisonné 1968-1999, Museé de Dessin et de l'Estampe Originale, Gravelines, 1999, pages 54-5. No. 87001 in the artist's oeuvre
Measurements:
Sheet: 33.5"H x 48.5"W;
Frame: 37.125"H x 52"W.
Verso of the frame bears label from Patricia Heesy Gallery, New York. This work was de-accessioned from the British Petroleum Corporate Art Collection, and also bears a label saying "Property BP America", with BP's unique Art Collection Inventory number on the verso.
Literature: Sean Scully Prints: Catalogue Raisonné 1968-1999, Museé de Dessin et de l'Estampe Originale, Gravelines, 1999, pages 54-5. No. 87001 in the artist's oeuvre
Provenance: Patricia Heesy Gallery, New York
Brooke Alexander Gallery, New York
Acquired from the above by British Petroleum's Corporate Art Collection; verso of frame also bears BP's label, stamp and unique Inventory number.
In elegant wood museum frame; fine condition - ready to hang.

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Signature: Signed, titled, dated and numbered in pencil recto (front);

Publisher: Printed by Chip Elwell; published by Diane Villani Editions, New York

Sean Scully Prints: Catalogue Raisonné 1968-1999, Museé de Dessin et de l'Estampe Originale, Gravelines, 1999, pages 54-5. No. 87001 in the artist's oeuvre

Patricia Heesy Gallery, New York
Brooke Alexander Gallery, New York
Acquired from the above by British Petroleum's Corporate Art Collection; verso of frame also bears BP's label, stamp and unique Inventory number.

About Sean Scully

Demonstrating an unwavering commitment to abstraction, Sean Scully’s paintings and works on paper combine an underlying geometric structure with soft edges and uneven application of pigment. Scully’s compositions often employ stripes, grids, and dark, earthy tones, as seen in early watercolors where Scully allowed the paint to puddle and overlap with a larger stripe motif. This integration of structured composition with the idiosyncrasies of the chosen medium is typical of Scully’s work; the artist has described this duality as a “battle between system and emotion.”

Irish, b. 1945, Dublin, Ireland