George Grosz

Galerie Stenzel, Breslau (on consignment from the artist)
Dr. Ismar Littmann, Breslau (acquired from the above on 4th March 1925; sale: Paul Graupe, Berlin, 21st-22nd March 1932, lot 93)
Private Collection, Paris
Fischer Fine Art Ltd., London
Acquired from the above by the late owner on 20th January 1983 

Executed on cream wove paper, not laid down, hinged to the mount in the top two corners. There are artist's pinholes in all four corners. There is a 1.5cm. tear in the upper left corner and several small tears along the upper edge (not visible when mounted). There is a 3.5cm. vertical repaired tear towards the centre of the lower edge. There are some light, scattered spots of foxing in the lower part of the figure. Apart from some time-staining along all four edges, this work is in good condition. Colours: Overall fairly accurate, although slightly lighter in the original.
"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."

Executed in 1925, Feinsliebchen represents all the biting satirical elements and the combination of debauchery and sexual depravity that define the artist's best work from this period. The woman, depicted in a green hat and purple dress is dominating the picture plane. With her pouted red lips and catty eyes, she is posing in the dark streets of an urban setting in post-World War I Germany, provocatively gazing at the viewer, whilst kinkily lifting her dress, her pink handbag nonchalantly hanging from her left shoulder. The man in the background, hiding his face in the collar of his coat, not wanting to be seen, is disappearing from the scene. The subject typifies Grosz's mordant social satire and, despite its vibrant colours, epitomises the artist's gaze into the darker sides of life in Weimar Germany.

Commenting on the significance of George Grosz's work, Lothar Fischer remarked: 'For the future artist generations to come Grosz will remain one of the strongest artists of the 20^th century. His razor-sharp draughtsmanship, as well as the contents and colouring of his pictures communicate a social and psychological reality which constantly questions the concept of morality and human interaction anew' (L. Fischer in George Grosz, Die Berliner Jahre (exhibition catalogue), Hamburger Kunsthalle, Hamburg, 1986, p. 26).