Lot 494
- 494
Gerhard Richter
Estimate
350,000 - 450,000 USD
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Description
- Gerhard Richter
- Dienstag
- signed and dated 1983; signed, titled and dated 83 on the reverse
- acrylic on paper
- 33 3/4 by 24 in. 85.7 by 60.9 cm.
Provenance
Marian Goodman Gallery, New York
Acquired by the present owner from the above
Acquired by the present owner from the above
Condition
This work is in very good condition overall. There is slight discoloration to the sheet surrounding the applied paint, which is inherent to the medium and the artist's working method. The sheet is hinged verso to the matte intermittently along the edges. Framed under Plexiglas.
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.
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.
Catalogue Note
“Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate…In abstract painting we have found a better way of gaining access to the unvisualizable, the incomprehensible; because abstract painting deploys the utmost visual immediacy—all the resources of art, in fact—in order to depict ‘nothing.’” Gerhard Richter (Gerhard Richter: The Daily Practice of Painting: Writings 1962-1993, London, 1995, p. 100)