Susan Rothenberg

Willard Gallery, New York
Sotheby's, New York, May 5, 1994, Lot 361
Acquired by the present owner from the above sale

This work is in good condition. It is hinged to the backing board in places along all four edges. There are artist's pinholes in all four corners. There is slight undulation throughout and some scattered light handling creases. There is scattered paper skinning and light abrasions in places throughout the composition, inherent to the artist's working process. There is a small tear to the bottom edge at about 6 inches form the bottom corner, which appears to be inherent to the artist's working process. Framed under Plexiglas and mounted on an acid-free matt board.
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.

By the middle of the '70s I sensed that people were tired of Minimal and Conceptual art. It made sense to paint an image of something you could recognize and feel something about. Painting horses enabled me to stick to the philosophy of the day—keeping the painting flat and anti-illusionist—but I also got to use this big, soft, heavy, strong, powerful form. Susan Rothenberg, 1999