Gerhard Richter

Private Collection, Europe

London, Whitechapel Art Gallery, Gerhard Richter: Atlas, December 2003 - March 2004

Angelika Thill, et. al., Gerhard Richter Catalogue Raisonné: 1962 – 1993, vol. III, Osterfildern-Ruit, 1993, cat. no 736-3, illustrated in color

This work is in very good condition overall. At extreme angles, there is a faint horizontal rub or scuff, located approx. 4 inches down from the top edge and approx. 10 to 13 inches from the right edge. Also only visible at extreme angles, there are very faint, hazy light vertical rubs scattered along the surface which may be associated with the packing material. The sheet of glass is not 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.

Mirror Painting (Blood Red), from 1991 is a rare and choice example from a small series of works on mirrors completed by Richter in the early 1990s.  Embracing minimal abstraction, he fuses together glass and color into a flawless surface on an impressive scale.  In the 1960s, Richter explored the aesthetic possibilities of reflective surfaces in free-standing panes of glass. He returned to glass in the 1990s – now exploring their role as reflectors of truth, but using color – primarily red or grey - to add a mysterious quality.  As noted by Richard Cork, "there is a consolation to be drawn from the eloquence with which an outstanding contemporary artist can define the unfathomable condition of life, and devote all the complex resources of his art to helping us realize how little we can ever really know." (Exh. Cat., London, Anthony d'Offay Gallery, Gerhard Richter Mirrors, April – June 1991, p. 20)