Fernando Botero

Byron Gallery, New York
Galerie Stangl, Munich (acquired from the above in 1975)
Thence by descent to the present owner

This work is in very good condition. The canvas is well stretched and is lined with a non-wax adhesive. There is a visible diagonal dark mark beneath the chin, which is inherent to the work. There is a thin horizontal scuff in the varnish through the hair at the top of the head, but this can easily be corrected. The work is ready to hang. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.)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.

“Yes, I love the entire Renaissance period, and above all the Quattrocento: Giotto, Paolo Uccello, and Piero della Francesca in particular. Giotto invented three-dimensional representation, the miracle that creates the sensation that a volume exists on a flat surface. Today, there is nothing particularly extraordinary about this, but at the time, it was an incredible revolution, which added mystery and complexity to painting. I attempt to create volumes solely by lines that enclose colors, as did the painters of the Quattrocento.There is an impassiveness in the faces I paint because I’m a great admirer of ancient Egyptian art and the work of Piero della Francesca. In his paintings a head is treated like any other object, and he never painted a smile or an expression of pain. Even in his battle scenes, the faces have an extraordinary impassiveness, a poetic and profound mystery. That’s why I too try to paint impassive faces that resemble any other object.”

Fernando Botero