Christie's London, 9 June 2010, lot 110

Previously from the Estate of F🐷rancis Newton Souza

There is very small spot of red pigment visible on the center edge of the work and a few small scattered abrasions to the lower quadrants. The paper is slightly undulated as it has lifted from the board. This painting is in good condition, as viewed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In the mid-1960s, Souza experimented with a highly expressionistic and gestural brushstroke to produce a small body of 'black paintings' which are notable for their textured surfaces and that are in a wider sense almost like sculptural images in bas relief. From influences as diverse as Francisco de Goya's Pinturas Negras series and Yves Klein's monochromatic paintings and sculptures, the latter of whom worked with Souza's Parisian gallery Iris Clert, Souza created one of his most sublime series of works. This 'black on black' series culminated into his 1966 solo exhibition at the Grosvenor Gallery in London, Souza: Black Art & Other Paintings. The seemingly monochromatic works have a build-up and layering of pigments that create subtle tonality in these paintings which while difficult to notice in reproduction, in reality and in variegated lighting conditions, demonstrate Souza's stunning mastery of line along with the emotional brute force with which he approaches his canvases.