David F. Domizi, III, Guilford, Connecticut (gift of the artist)

This work is in excellent condition overall. Under very close inspection and raking light, there are some faint scattered surface scratches and a few minor irregularities to the sheen of the enamel.
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 1983 Wesselmann envisioned transferring the spontaneity and expressive qualities of his sketches to steel, as if the lines of a drawing were lifted off the paper and placed directly onto a white wall.  He became consumed by the pursuit of this exciting, original idea and said in a 1985 interview with The New York Times, “'I've just had the best year of my life…I always work in a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.” (Douglas C. McGill, “Tom Wesselmann In a New Medium,” New York Times, November 22, 1985)

This pioneering concept predated the available technology required to create these new works in metal. Initially, Wesselmann experimented by making the first pieces with hand-cut aluminum, but in Wesselmann’s eagerness to realize his idea he soon began a yearlong collaboration with various local metal fabricators to develop a system that would cut steel to the precision required to produce his desired effect of a freshly drawn sketch.  By guiding the advancement of the technology he became the first artist to use laser-cut metal as a medium.  The instantaneous and effortless ease that the final product evokes, an enlargement of his drawings preserving the cross-hatches and scribbles of a swift rendering, was hardly impromptu.  After countless studies, the artist thoughtfully selected only drawings to be translated to steel that possessed specific qualities. He explained, “I do dozens of tiny little sketches until one happens spontaneously that has the right feel to it.” (Ibid.)

A principal contributor to the design and creation of the new technology that brought Wesselmann’s vision to a reality was Mr. David F. Domizi, III, the founder of Lasercut, Inc., who was gifted the present work, Still Life with Daisies, Lilies and Fruit, by the artist as a sign of his gratitude.