Sale: 545 / Evening Sale, Dec. 08. 2023 in Munich Lot 68

Sean Scully
Ingrid, 2007.
Oil on aluminum
€ 200,000 - 300,000

$ 212,000 - 318,000

Ingrid. 2007.
Oil on aluminum.
Signed, dated "12.25.07" and titled on the reverse. 71 x 81.5 cm (27.9 x 32 in).

• The year this work was made was the year that the artist used aluminum as image carrier for his sensual and complex painting for the first time.
• Owing to the surface's matte glossy materiality, the painterly flow, the warm and earthen palette and the color fields' agility, the artist created a work with an almost sculptural effect.
• In the variety of red nuances shown here, Scully plays with the expressiveness of warm colors.
• Works from the same year are at, among others, the Centre Georges Pompidou in Paris, the Albertina in Vienna and the Kunstmuseum Bern

PROVENANCE: Private collection Southern Germany (acquired directly from the artist in 2008).

"I'm about to start using metal panels (aluminum). I love canvas and wood, but to apply an old medium (oil) onto a contemporary metal will break the feeling of nostalgia and that is what I find fascinating."

Sean Scully, September 5, 2007, quoted from: Kelly Grovier (ed.), Inner, Berlin 2018, p. 224.

Called up: December 8, 2023 - ca. 19.14 h +/- 20 min.

Stripes in Layers
Sean Scully's fascinating oeuvre, which covers a period of more than 50 years, is dominated by polychrome compositions of vertical and horizontal stripes of different widths and lengths, as well as rectangular color fields that fill image areas divided into rectangles.
Scully's first work step is the segmentation of the area that is to be painted, a precise arrangement of stripes and color fields. From an almost infinite wealth of compositional possibilities, Scully divides the rectangular shape of the image area into several smaller rectangular elements. In his later works, the structure is much less strict: the lines are not drawn with a ruler but by hand. Using a broad brush, Scully then applies his paint in numerous, overlapping and sometimes impasto layers, a method that led to a variety of red nuances in the work offered here: owing to the covert underpaintings, no two red hues are the same. Blue, grey-green, light yellow, violet and brown are the colors underneath the surface, colors that shimmer through in narrow stripes at the blurred borders and transitions between the individual color fields, making the entire imag area vibrate and full of life. "There are no simple colors in my work… there are no whites, no reds. Colors are always subverted by the colors underneath, so when you're looking at something you're never quite sure what you're looking at" (Sean Scully quoted in: Hossein Amirsadeghi and Maryam Homayoun Eisler, Eds., Sanctuary: Britain's Artists and their Studios, London, 2011, p. 112).

From Canvas to Aluminum
Sean Scully's concept of art has not changed much over the years, although his painting is subject to constant development. After his first artistic experiments with 'floating' aluminum panels protruding at right angles from the wall in the 1990s, the artist discovered metal as an unusual, contemporary material in 2007 for his surface-based paintings. In contrast to canvas, the harder, smooth aluminum resists the slight 'breathing' of the paint because it lies on the surface and, unlike it is the case with canvas, is not absorbed by the image carrier. In combination with the gentle shine of the oil paint, the metallic surface gains a completely new aesthetic appeal: Depending on the incidence of light, the expressiveness of the respective colored areas and their surface properties change. and, in conjunction with the warm colors used here, create an extremely sensual opulence.

"Full of emotion"
In the work offered here, Scully goes a step further than in previous works from the 1990s. The framework barely holds the composition: the black color surface gives the representation support, but the individual color bars have different lengths, the edges are blurred due to the broad brushstrokes, here and there the artist uses his tools a little 'too early' or a little 'too late', so that the application of paint contradicts the previously conceived geometric division of the image area in a very sensual way. Any severity and rigidity must give way to smooth transitions, a particularly painterly style and the energy and emotions the artist releases while painting. "I am convinced that abstraction exists and always has existed to embody deep emotion", explains the artist (quoted from: Kelly Grovier (ed.), Inner, Berlin 2018, p. 104) Inspired by Abstract Expressionists such as Mark Rothko, Scully found his own, distinctive visual language, a deeply felt, poetically charged abstraction: "Newman tried to make a space that was spiritually charged, and that is what I tried to do in my work too." (S. Scully, in: Florence Ingleby (ed.), Sean Scully. Resistance and Persistence - Selected Writings, London 2006, p. 90)
Ai Weiwei also mentions this emotional aspect of Scully's painting: "You could see his expression and passion in every piece, and that is something that has never changed. His works have always been full of emotion, and you can see clearly where intention and form intersect." (Ai Weiwei, in: Kelly Grovier (ed.), Sean Scully. Bricklayer of the Soul, Ostfildern 2015, p. 55). [CH]

Buyer's premium, taxation and resale right compensation for Sean Scully "Ingrid"
This lot can be purchased subject to differential or regular taxation, artist‘s resale right compensation is due.

Differential taxation:
Hammer price up to 800,000 €: herefrom 32 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 27 % and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 22 % and is added to the premium of the share of the hammer price up to 4,000,000 €.
The buyer's premium contains VAT, however, it is not shown.

Regular taxation:
Hammer price up to 800,000 €: herefrom 27 % premium.
The share of the hammer price exceeding 800,000 € is subject to a premium of 21% and is added to the premium of the share of the hammer price up to 800,000 €.
The share of the hammer price exceeding 4,000,000 € is subject to a premium of 15% and is added to the premium of the share of the hammer price up to 4,000,000 €.
The statutory VAT of currently 19 % is levied to the sum of hammer price and premium. As an exception, the reduced VAT of 7 % is added for printed books.

We kindly ask you to notify us before invoicing if you wish to be subject to regular taxation.

Calculation of artist‘s resale right compensation:
For works by living artists, or by artists who died less than 70 years ago, a artist‘s resale right compensation is levied in accordance with Section 26 UrhG:
4 % of hammer price from 400.00 euros up to 50,000 euros,
another 3 % of the hammer price from 50,000.01 to 200,000 euros,
another 1 % for the part of the sales proceeds from 200,000.01 to 350,000 euros,
another 0.5 % for the part of the sale proceeds from 350,000.01 to 500,000 euros and
another 0.25 % of the hammer price over 500,000 euros.
The maximum total of the resale right fee is EUR 12,500.

The artist‘s resale right compensation is VAT-exempt.