Galerie Daniel Varenne, Genève
Collection William N. Copley, New York
Vente: Sotheby Parke Bernet, Inc, New York, 5 novembre 1979, lot 62
Vente: Sotheby's, New York, Contemporary Art, Part II, 11 novembre 1988, lot 258
Collection particulière, Suisse

David Bourdon, Christo, 1971, no.78, illustré
Christo and Jeanne-Claude: Early Works, 1958-1969, Köln, 2001, p.111, no.169, illustré en couleurs

The colours are fairly accurate in the original work although the image does not convey the three-dimensionality of the work. The corners and part of the edges present some wear marks, particularly the upper edge. Some small paint losses are visible on the green wood. The plexiglass presents some superficial scratches. The work is in very good original condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A New York, en 1964, Christo réalise sa première Devanture de Magasin. Cette opposition entre espace intérieur et extérieur deviendra encore plus évidente par la suite dans l'oeuvre de Christo.
Brite Green Store Front, Project appartenait à William N. Copley et fut vendu lors de l'exceptionnelle vente de sa collection en 1979.

"Les Vitrines marquent un tournant décisif dans l'évolution de Christo. Elles le mènent aux Devantures et à une nouvelle échelle architecturale. Elles le libèrent de la dépendance à l'égard d'objets préexistants et lui permettent d'empaqueter des formes et des espaces vides de n'importe quelle taille... Comme des façades pour un décor de cinéma, les Devantures possèdent une véritable échelle architecturale , mais sans être de vrais édifices. Dans les Devantures de Christo, les vitrines, grandeur nature, son♋t partiellement tapissées, sur l'intérieur, de tissu, de peinture ou de papier d'emballage, ce qui interdit au spectateur ou au passant de voir l'espace intérieur, mais l'oblige à s'interroger sur ce que contient cet espace illuminé et laissé quelque peu visible."(1)

(1) David Bourdon in Christo and Jeanne-Claude - Early works 1958-69, Berlin, 2001, p.110

In New York, in 1964, Christo made his first Store Front. The use of inner/outer space will become more evident in later works by Christo.
Brite Green Store Front, Project used to belong to William 🍸N. Copley and was sold suring the exceptional 🔥sale of his own collection in 1979.

"The Show Cases mark a decisive shift in Christo's development. They led to the Store Fronts and architecural scale, freeing him from depency on preexistent objects and enabling him to package invented shapes and emptu spaces of any size he wanted...
Like façades on a movie set, the Store Fronts sculptures have real architectural sale without being real buildings. In Christo's Store Fronts, the life-size glass windows are partially covered, on the inside surface of the glass, with either fabric, paint or wrapping paper, therefore not allowing the standing or walking viewer to see the inside space, but still wonder about the content of the inside space slightly visible."(1)

(1) David Bourdon in Christo and Jeanne-Claude - Early works 1958-69, Berlin, 2001, p.110