Mary Boone Gallery, New York
Private Collection, New York
Acquired by the present owner from the above

University of Massachusetts at Amherst, University Gallery; Montreal, Saidye Bronfman Center; Honolulu, The Contemporary Museum, Ellen Phelan: From the Lives of Dolls, November 1992 - May 1993

This work is in very good condition overall. There is evidence of light wear and handling toward the edges, resulting in some minor spots of paint loss, visible under close inspection. There are a few scattered spots of hairline craquelure on the figure's back, to the right of her head and along the right and left sides. Under Ultraviolet light inspection, there is no evidence of restoration. Framed.
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.

"It was the timing, the deft nearly comic timing that first drew me to the work of Eric Fischl. It was the thing about to happen, the act implied but not illustrated, the menacing relations between family members that made Eric Fischl’s paintings disturbing. It was the way in which he forced the viewer to fill in the blanks, to answer the question: What exactly is going on here? In his early work invariably the answer was sex; first sex, illicit sex, weird sex, seeing or touching something you shouldn’t, rubbing up against the taboos of familial flesh, interracial relations, etc.; the kind of thing you’ve considered, but aren’t necessarily willing to admit. Yet, in order to read the paintings, one had to participate, to admit at least to oneself that yes, we have noticed. It was that, exactly that, the way Fischl subtly and subversively required the viewers to call upon their own experiences, fantasies, nightmares, that impressed me most" - A.M. Homes (in Bomb Magazine, No. 50, Winter 1995)