Details

Provenance

Acquired directly from the artist by the present owner in 1992

Exhibited

Karlsruhe, Städtische Galerie im Prinz Max Palais; Linz, Neue Galerie der Stadt Linz, Georg Baselitz - Gemälde: Schöne und hässliche Portraits , 1993, p. 204, no. 45, illustrated in colour

Literature

Edward Quinn, Georg Baselitz, Eine Fotografische Studie von Edward Quinn, Bern 1993, p. 201, installation shot of the work in the artist's studio in colour Condition Colours: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly warmer in the original. The catalogue illustration fails to fully convey the highly textured painted surface apparent in the original. <br><br>Condition: This work is in very good condition. On close inspection there is very light surface dirt in places to the raised areas of white pigment. "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 "The object expresses nothing at all. Painting is not a means to an end. On the contrary, painting is autonomous. And I said to myself: if this is the case, then I must take everything, which has been an object of painting - landscape, the portrait and the nude, for example - and paint it upside-down. That is the best way to liberate representation from content." Baselitz quoted in: Exhinbition Catalogue, New York, Solomon R. Guggenheim Museum, Georg Baselitz , 1995, p. 71

Catalog summary

Georg Baselitz Dora signed, titled and dated 15 VII 92 on the reverse oil on canvas 130 by 97 cm.; 51 1/8 by 38 1/4 in. Provenance Acquired directly from the artist by the present owner in 1992 Exhibited Karlsruhe, Städtische Galerie im Prinz Max Palais; Linz, Neue Galerie der Stadt Linz, Georg Baselitz - Gemälde: Schöne und hässliche Portraits , 1993, p. 204, no. 45, illustrated in colour Literature Edward Quinn, Georg Baselitz, Eine Fotografische Studie von Edward Quinn, Bern 1993, p. 201, installation shot of the work in the artist's studio in colour Condition Colours: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly warmer in the original. The catalogue illustration fails to fully convey the highly textured painted surface apparent in the original. <br><br>Condition: This work is in very good condition. On close inspection there is very light surface dirt in places to the raised areas of white pigment. "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 "The object expresses nothing at all. Painting is not a means to an end. On the contrary, painting is autonomous. And I said to myself: if this is the case, then I must take everything, which has been an object of painting - landscape, the portrait and the nude, for example - and paint it upside-down. That is the best way to liberate representation from content." Baselitz quoted in: Exhinbition Catalogue, New York, Solomon R. Guggenheim Museum, Georg Baselitz , 1995, p. 71