Details

Provenance

Marian Goodman Gallery, New York Acquired directly from the above by the present owner

Literature

Angelika Thill, et al., Gerhard Richter Catalogue Raisonné: 1962 - 1993, Vol. III , Ostfildern-Ruit, 1993, p. 138, no. 767-1, illustrated in colour Condition Colour:<br>The colours in the catalogue illustration are fairly accurate although the overall tonality is brighter and more vibrant with the greens throughout tending more towards bright grass green in the original. <br><br>Condition:<br>This work is in very good condition. No restoration is apparent when examined under ultra-violet light. "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." Catalogue Note '22 September 1992. Scraping off. For about a year now, I have been unable to do anything in my painting but scrape off, pile on and then remove again. In this process I don't actually reveal what was beneath. If I wanted to do that, I would have to think what to reveal (figurative pictures or signs or patterns); that is, pictures that might as well be produced direct. It would also be something of a symbolic trick: bringing to light the lost, buried pictures, or something to that effect. The process of applying, destroying and layering only serves to achieve a more varied technical repertoire in picture-making.' Gerhard Richter cited in: Hans-Ulrich Obrist, Ed., Gerhard Richter, The Daily Practice of Painting: Writings 1962-1993 , Cambridge MA. 1995, p. 245

Catalog summary

Gerhard Richter Abstraktes Bild signed, dated 1992 and numbered 767-1 on the reverse oil on canvas 62 by 62cm.; 24 3/8 by 24 3/8 in. Provenance Marian Goodman Gallery, New York Acquired directly from the above by the present owner Literature Angelika Thill, et al., Gerhard Richter Catalogue Raisonné: 1962 - 1993, Vol. III , Ostfildern-Ruit, 1993, p. 138, no. 767-1, illustrated in colour Condition Colour:<br>The colours in the catalogue illustration are fairly accurate although the overall tonality is brighter and more vibrant with the greens throughout tending more towards bright grass green in the original. <br><br>Condition:<br>This work is in very good condition. No restoration is apparent when examined under ultra-violet light. "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." Catalogue Note '22 September 1992. Scraping off. For about a year now, I have been unable to do anything in my painting but scrape off, pile on and then remove again. In this process I don't actually reveal what was beneath. If I wanted to do that, I would have to think what to reveal (figurative pictures or signs or patterns); that is, pictures that might as well be produced direct. It would also be something of a symbolic trick: bringing to light the lost, buried pictures, or something to that effect. The process of applying, destroying and layering only serves to achieve a more varied technical repertoire in picture-making.' Gerhard Richter cited in: Hans-Ulrich Obrist, Ed., Gerhard Richter, The Daily Practice of Painting: Writings 1962-1993 , Cambridge MA. 1995, p. 245