oil on canvas

Galerie Claude Bernard, Paris
Acquired from the above by the present owner (1978)

George W. Staempfli, Claudio Bravo (exhibition catalogue), Galerie Claude Bernard, Paris, 1976, no. 2, illustrated in color
Edward J. Sullivan, Claudio Bravo, New York, Rizzoli International Publications,ꦆ 1985, p. 66, illustrated in color

 

Auxiliary support: The wooden support is a lightweight, six member stretcher of traditional construction. The forward faces of the outer members have a shallow bevel. All keys are extent in the joins and the joins have been expanded. Support: The fabric support is a moderately fine linen. The reverse of the linen support has been infused with wax resin adhesive, stiffening the fabric support and lending a mottled appearance to the reverse. A soft distortion is in the upper right corner, several small distortions are within 16-17 ½ in. from the upper edge and 12 7/8-17 ¾ in. from the left, and a shallow indentation is 2 ½ -7 ¼ in. from the upper edge and 2 7/8-3 ¼ in. from the left. Paint and ground layers: The thin white ground appears to have been commercially prepared. The paint layer, estimated to be oil, has been smoothly applied in multiple layers with subtle brushwork. The surface sheen is reflective having been imparted by an overall varnish layer. The varnish layer may be slightly discolored. A substantial area of inpainting, roughly in the shape of a large inverted "V" is in the lower left with a prominent network or fine, sharply raised cracks, emanating from the "V" shaped area and extending diagonally upwards. This area of inpainting is readily visible under both normal and ultraviolet light. The inpainting and associated cracks, some of which have also been inpainted, is located within ½-24 1/8 in. from the lower edge and 6 ½ - 21 ¾ in. from the left. Two small cracks are at 16 ½ in. from the upper edge and 17 ¼ in. from the left, and at 3 ¾ - 6 ¼ in. from the upper edge and 3 in. from the left. (This condition report has been provided courtesy of Amann & Estabrook Conservation Associates)
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.

"Lingam is the most obviously erotic painting I've ever done....in its title𒉰 and in the fact that the phallic symbol is placed between the legs of the seated model.  It represents a hustler who comes into your house, talks with you and creates an erotic situation.  It is set in an everyday atmosphere.  It includes a Max Bill sculpture that I own which has very erotic forms. On the wall is a scroll painting, but we can barely see what's painted on it.  It serves the same function as maps in Vermeer's pictures.  We know that this is a painting but we don't know what it represents. We know that in Vermeer there are maps but we often don't know what country we're looking at."    

 -Claudio Bravo