Sculpture & Space

June 1217, 2021
Auction begins to close at 2:00 pm ET

Online Auction
LOT 5

Lot 5

Jesús Rafael Soto (1923–2005)

Jesús Rafael Soto (1923–2005)
Lot 5 Details
Jesús Rafael Soto (1923–2005), Venezuelan

UNTITLED (SOTO MAGIE SERIES), 1967

Acrylic, plexiglass and metal rods with nylon strings; signed and numbered 92/100 to the base
20 ins x 12 ins x 8 ins; 50.8 cms x 30.5 cms x 20.3 cms

Estimate $15,000-$20,000

Lot Report

Additional Images
Jesús Rafael Soto (1923–2005)
  • Jesús Rafael Soto (1923–2005)
  • Jesús Rafael Soto (1923–2005)
  • Jesús Rafael Soto (1923–2005)
  • Jesús Rafael Soto (1923–2005)
  • Jesús Rafael Soto (1923–2005)
  • Jesús Rafael Soto (1923–2005)
Provenance:

Private Collection, Toronto

Note:

Jesús Rafael Soto was a Venezuelan Op and Kinetic artist whose artistic presence is deeply embedded in global art history. In Caracas, he was at the centre of the modern art scene with other important artists such as Omar Carreño, Carlos Cruz-Diez, Mercedes Pardo and Alejandro Otero, all of whom attended La Escuela de Artes Plásticas y Artes Aplicadas (Plastic and Applied Arts School). After graduating in 1947, Soto moved to Paris on a grant, where he connected with the Nouveau Réalistes (New Realists), and with Yaacov Agam, Jean Tinguely, and Victor Vasarely.

Soto’s name was permanently etched into the Western canon in 1955 with his participation in the ground-breaking group exhibition “Le mouvement (The Movement),” which thrust Kinetic art onto the global centre stage. The exhibition was held by Galerie Denise René and included the works of Alexander Calder, Marcel Duchamp, Yaacov Agam, Pol Bury, Jesús Rafael Soto, Jean Tinguely, and Victor Vasarely. At the time of the exhibition, Vasarely said, “We are at the beginning of a great era. The era has now begun in which sculptural projections on two- and three-dimensional screens are possible, both day and night.”

By the 1960s, Soto expanded his practice to include the making of linear, kinetic constructions that embodied the movement’s most important elements of motion, space, and time. The viewer’s participation was vital to each of these artworks. “Soto’s sculptures and environments often play with the juxtaposition of solid and void, deliberately unsettling the act of viewing by blurring the distinction between reality and illusion.” This metal and plexiglass sculpture wonderfully encapsulates the artist’s core tenets.

In 1973, Jesús Soto opened the Museo de arte moderno in his hometown of Ciudad de Bolívar, which houses a substantial collection of the artist’s work, as well as those who influenced him. His work can also be found in the permanent collections of major institutions, such as Tate (London), Museum Ludwig (Germany), Centre Georges Pompidou (Paris), Galleria Nazionale d’Arte Moderna (Roma) and MoMA (New York).

We thank Emma Landis, Toronto-based art consultant and art historian, for contributing this essay.

CONDITION DETAILS

This lot is in good condition with only minor abrasions to the plexiglass and one missing screw on the top support.


As a result of the COVID-19 pandemic and mandated government restrictions, Waddington’s regrets that we are unable to make lots from this auction available for pre-auction, in-person inspection. This condition report has been prepared by Waddington’s as a courtesy and has been provided for guidance only. The Lot is offered in the condition it is in at the time of sale. Any reference to condition in the report for the Lot does not amount to a full description of condition. The images of the Lot form part of the condition report for the Lot provided by Waddington’s. Please note, certain images of the Lot provided online may not accurately reflect the actual condition of the Lot and may represent colours and shades which are different to the Lot’s actual colour and shades. Waddington’s specialists are not professional conservators or restorers and the report set forth is a statement of opinion genuinely held by Waddington’s. Prospective buyers should bear in mind that this report will not disclose any imperfections which may only be revealed during the course of subsequent restoration. Buyers are reminded that Waddington’s warranties with respect to any property are limited as set forth in the Conditions of Sale and do not extend to condition.

LOT 5
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About Condition Ratings

  • 5 Stars: Excellent - No discernable damage, flaws or imperfections
  • 4 Stars: Very Good - Minor flaws or imperfections visible only under close inspection using specialised instruments or black light
  • 3 Stars: Good - Minor flaws visible upon inspection under standard lighting
  • 2 Stars: Fair - Exhibits flaws or damage that may draw the eye under standard lighting
  • 1 Star: Poor - Flaws or damage immediately apparent under standard lighting (examples: missing components, rips, broken glass, damaged surfaces, etc.)

Note: Condition ratings and condition details are the subjective opinions of our specialists and should be used as a guide only. Waddington’s uses due care when preparing condition details, however, our staff are not professional restorers or conservators. Condition details and reports are not warranties and each lot is sold “as is” in accordance with the buyer’s terms and conditions of sale. In all cases the prospective purchaser is responsible for inspecting the property themselves prior to placing a bid.