Sidney Janis Gallery, New York
Acquired by the present owner from the above

Knokke, Casino, George Segal, June - September, 1989, p. 39, illustrated in color and on the cover (unique plaster version)

Sam Hunter, George Segal, New York, 1989, pl. 114, n.p., illustrated in color (unique plaster version)

This work is in very good condition overall. The benches have some light surface abrasions near the seated figures on either bench. There are a few unobtrusive white smudges, presumably from coming into contact with the seated figures. The surface of the figures have some minor scuffing and surface abrasions, most noticeably on their back sides, presumably from the installation and deinstallion process. There are scattered dust accretions throughout.
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.

George Segal's Couple on Two Benches of 1985 seduces the viewer into playing the role of the voyeur. The two bronze, life-sized figures each sit on opposite-facing benches, but they turn in towards each other, forearms lightly touching. The white patina gives the figures a ghostly quality while still retaining the sort of realistic details that ensure that we think of them as human: tousled hair, creased clothing, sinewy arms. The present work appears similar to Segal's earlier plaster bandaged figures, in which he made orthopedic casts of real life models—the shell itself being the final product.

Surely some private drama is being enacted between the man and woman; that they are sitting on separate benches indicates either a chance encounter or perhaps even an unexpected reconciliation. Their gazes meet tenderly, though there exists a tenuous aspect to their touch. Their gestures are subtle but pregnant with narrative possibility; the exchange, private and insular. From how close up should we observe the couple? How much privacy should we grant them? Speaking of his work, Segal once said: "I deal primarily with mystery and in the presentation of mystery. If I cast someone in plaster, it is the mysteﷺry of a human being that is presented. If I put him next to an object, it also raises a question about the nature of that object."