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Lot 230
  • 230

Martin Kippenberger

Estimate
60,000 - 80,000 GBP
bidding is closed

Description

  • Martin Kippenberger
  • Alkoholfolter
  • mixed media with beer cans on canvas, in 2 parts
  • 50.2 by 100.6 by 23.5 cm. 19 3/4 by 39 3/8 by 9 1/4 in.
  • Executed in 1982.

Provenance

Galerie Max Hetzler, Cologne
Private Collection

Exhibited

Stuttgart, Galerie Max Hetzler, Martin Kippenberger: Ein Erfolgsgeheimnis des Herrn A. Onassis, Investieren Sie in Öl, October - November 1981
New York, Zwirner & Wirth, Martin Kippenberger - Selected Works, February - April 2002
London, David Zwirner, Days in Lieu, January - February 2013

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter in the original. The catalogue illustration also fails to fully convey the metallic quality of the spray paint visible in the original. Condition: This work is in very good condition. The adhesive has yellowed overtime, which is in keeping with the artist's choice of medium, and the black string towards the lower edge of the left panel is sectioned. No restoration is apparent when examined under ultraviolet light.
"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

“You can only work in a way that is morally right for you. Of course you add little jokes, which may bewilder people at first, but the piece is about self-recognition for them, not for me. You can’t stand yourself next to every picture you paint and explain things. Pictures have to talk for themselves. […] It’s the imperfect pictures that go on creating some sort of tension. Of course it’s nice to paint perfect pictures; it makes for a pleasant visit to a museum.”
Martin Kippenberger
in conversation with Daniel Baumann in: Doris Krystof and Jessica Morgan Eds., Martin Kippenberger, Tate Publishing, London, 2006, p. 62