This work is registered in the archives of Serge Poliakoff under number 765006 and is reproduced in the Catalogue Raisonné, Volume IV, under number 65 - 304. We also have confirmation from Thaddée Poliakoff, who provided us with all the information regarding the piece. 

" The technique can always be copied,

but the light of color never, impossible. "

Serge Poliakoff

In 1965, during one of his visits to Amsterdam, Serge Poliakoff brought his chromatic experimentation into an unexpected medium: glass. The work presented here — an exceptional and unique piece — emerged in connection with his exhibition that same year at the renowned Galerie d’Eendt, a key venue in the Dutch art scene of the time. This is one of only a handful of prototypes — no more than four or five — that Poliakoff conceived during that period. They were never developed into a series, and what remains is a unique object that stands entirely on its own within the artist’s body of work.

Far from being a simple transposition of his pictorial language into another material, this glass piece represents a new and deliberate stage in Poliakoff’s artistic evolution. His visual vocabulary remains unmistakable: enclosed forms, compositional balan ce, and a harmonious tension between geometry and organic shape. But in this work, light becomes an active presence. Through the inherent transparency and density of glass, Poliakoff achieves a chromatic subtlety that seems to transcend the possibilities o f canvas. The surface appears to vibrate from within — as though color, the fundamental element of his language, has acquired an autonomous life. The result is a work that feels at once solid and weightless, imbued with a silent, contemplative spirituality.

Poliakoff’s fascination with medieval mural painting — particularly the frescoes of Giotto — resonates throughout his oeuvre. Like the Italian master, he saw color not as an accessory, but as a structural force. “Color cannot be explained,” he once remarked. “ It must be felt. Color is a kind of music.” This equivalence between sound and color, between form and emotion, underpins all of his work, but takes on new depth in this piece, where the material itself becomes a kind of acoustic chamber for his most intui tive explorations.

By the 1960s, Poliakoff was already a well - established figure on the European art scene, with a presence at major biennials and in key museum collections. But rather than settle into repetition, he continued to push his formal investigations forward. This work stands as evidence of that restlessness — of his ability to renew himself while remaining deeply coherent. Its rarity, its uniqueness, and its direct connection to one of the most experimental moments in his career make it a highly desirable piece for a ny collector seeking both aesthetic strength and historical resonance.