Details

Provenance

L.A. Louver Gallery, Venice, California Private Collection, Los Angeles Private Collection, London Sale: Sotheby's, London, Contemporary Art , 29 June 2010, Lot 228 Acquired directly from the above by the present owner Condition Colour:<br>The colours in the catalogue illustration are fairly accurate, although the overall tonality is deeper and richer in the original, with the yellow tending more towards rich mustard and the baby pink towards salmon.<br><br>Condition:<br>This work is in very good condition. There are some faint and intermittent rub marks along all four extreme edges. Upon very close inspection, there is some extremely fine craquelure in places to the white pigment of the flower and vase and a few isolated fine cracks towards the centre of the composition. 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 “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.” The artist quoted in: Exhibition Catalogue, New York, Solomon R. Guggenheim Museum, Georg Baselitz , 1995, p. 71

Catalog summary

Georg Baselitz Das Motiv signed with initials and dated 14.V.88 ; signed, titled and dated 14.V.88 13.V.88 on the reverse oil on canvas 161.6 by 130cm.; 63 5/8 by 51 1/4 in. Provenance L.A. Louver Gallery, Venice, California Private Collection, Los Angeles Private Collection, London Sale: Sotheby's, London, Contemporary Art , 29 June 2010, Lot 228 Acquired directly from the above by the present owner Condition Colour:<br>The colours in the catalogue illustration are fairly accurate, although the overall tonality is deeper and richer in the original, with the yellow tending more towards rich mustard and the baby pink towards salmon.<br><br>Condition:<br>This work is in very good condition. There are some faint and intermittent rub marks along all four extreme edges. Upon very close inspection, there is some extremely fine craquelure in places to the white pigment of the flower and vase and a few isolated fine cracks towards the centre of the composition. 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 “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.” The artist quoted in: Exhibition Catalogue, New York, Solomon R. Guggenheim Museum, Georg Baselitz , 1995, p. 71