Lot Closes In:
Callum Innes
CADMIUM RED LIGHT
Lot 11
Current Bid:
€0.00
Bid History:
0 Bids
Estimate:
€40,000 - €60,000
Ending:
18:07:30 on 13/06/2023
Callum Innes, b.1962
CADMIUM RED LIGHT
Oil on canvas, 81 3/4" x 79 3.4" (207.5 x 202.5cm), signed and dated 2007 verso.
Provenance: Sean Kelly Gallery, New York; Private Collection.
At first glance, particularly if it's based on lookin...
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Lot 11
Callum Innes
CADMIUM RED LIGHT
Lot 11
Callum Innes
CADMIUM RED LIGHT
Estimate:
€40,000 - €60,000
Callum Innes, b.1962
CADMIUM RED LIGHT
Oil on canvas, 81 3/4" x 79 3.4" (207.5 x 202.5cm), signed and dated 2007 verso.
Provenance: Sean Kelly Gallery, New York; Private Collection.
At first glance, particularly if it's based on looking at a reproduction, one might inaccurately label Innes as a hard-edged minimalist. Although his paintings are based on simple geometric grid structures, there are no signs of razor-sharp edges or flat, unmodulated colour. His paintings demand that you experience them first-hand, where the fragility and luminosity of their imperfect surfaces can be enjoyed.
Innes works in an unusual way, laying down paint over the entire canvas and then using turpentine to dissolve sections while they're still wet, leaving watery residues of the initial colour. He repeats this over and over again, adding and subtracting pigment so that each painting has its own history, leaving vestigial traces of what went before. Every painting, like this one, also records the movement of the artist's hand as he slowly dragged his brush across the surface. The pronounced vertical rhythm in the red panel contrasts with the quiet horizontal movement in the adjacent grey one. These subtle rhythms are key to enjoying the work.
In Cadmium Red Light the interface between colours seems to quiver as adjacent pigments bleed into each other. Each separate colour has an unexpected richness and depth, most noticeable here in the red panel which sings with a luscious translucency. The painting uses bold contrasting colours which initially seem separate but, because every panel contains traces of the same initial underpainting, the disparate colour panels hold together like siblings from the same gene pool.
Dr Frances Ruane, HRHA, May 2023
CADMIUM RED LIGHT
Oil on canvas, 81 3/4" x 79 3.4" (207.5 x 202.5cm), signed and dated 2007 verso.
Provenance: Sean Kelly Gallery, New York; Private Collection.
At first glance, particularly if it's based on looking at a reproduction, one might inaccurately label Innes as a hard-edged minimalist. Although his paintings are based on simple geometric grid structures, there are no signs of razor-sharp edges or flat, unmodulated colour. His paintings demand that you experience them first-hand, where the fragility and luminosity of their imperfect surfaces can be enjoyed.
Innes works in an unusual way, laying down paint over the entire canvas and then using turpentine to dissolve sections while they're still wet, leaving watery residues of the initial colour. He repeats this over and over again, adding and subtracting pigment so that each painting has its own history, leaving vestigial traces of what went before. Every painting, like this one, also records the movement of the artist's hand as he slowly dragged his brush across the surface. The pronounced vertical rhythm in the red panel contrasts with the quiet horizontal movement in the adjacent grey one. These subtle rhythms are key to enjoying the work.
In Cadmium Red Light the interface between colours seems to quiver as adjacent pigments bleed into each other. Each separate colour has an unexpected richness and depth, most noticeable here in the red panel which sings with a luscious translucency. The painting uses bold contrasting colours which initially seem separate but, because every panel contains traces of the same initial underpainting, the disparate colour panels hold together like siblings from the same gene pool.
Dr Frances Ruane, HRHA, May 2023
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PLEASE BID EARLY TO AVOID DISAPPOINTMENT.
In order to allow rival bidders the opportunity to respond to a late bid the following extensions will apply:
IF A BID IS RECEIVED WITHIN THE FINAL 45 SECONDS OF THE COUNTDOWN THE CLOCK WILL RESET TO 60 SECONDS.
At any point you can leave a maximum bid, representing the highest price you are prepared to pay for a particular lot. Bidding only advances when there is competition from a rival bidder. In that case the system bids on your behalf, only up to the maximum if required. All bids are relayed to you be email, along with notification if you have been outbid.
All maximum bids are confidential and not disclosed. The system will endeavor to purchase the lot for you for the least price. Bids are subject to buyer’s premium of 25% (incl vat), with no additional charges.
In the event of a tied bid, the preference will be given to the bid submitted first. The second bidder will receive immediate notification of being outbid.
NB: Please note that the buyers premium for the 'Pallas Projects Artworks 2023! Auction' are 20% (no vat). This goes directly to the charity.
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