Lot 130
- 130
Nan Goldin (b.1953)
Estimate
6,000 - 8,000 EUR
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Description
- Nan Goldin
- Guido on the dock, Venice, 1998
Tirage cibachrome. Encadré. Au verso du cadre, signé, titré, daté et numéroté 11/15 au feutre noir.
Literature
Guido Costa, Nan Goldin, Paris, Phaidon, 2001, ill. p. 101.
Condition
In apparently excellent condition (unexamined out of frame).
"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."
"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
"Cette photo de l'un des amis italiens de Nan est un exemple de son nouvel intérêt pour le contraste entre la silhouette et le paysage et de sa nouvelle faveur pour une atmosphère douce. Elle n'appartient à aucun cycle, mais elle présente de forts liens avec un ensemble de photos d'extérieur où l'artiste utilise la lumière naturelle d'une manière particulière et le corps humain en tant que forme purement abstraite." (cit. in Guido Costa, p. 100)