Nathan Oliveira

Private Collection, Los Angeles (acquired directly from the artist)
Acquired by the present owner from the above circa 2005

This work is in good condition overall. There are scattered areas of cracquelure and pigment separation. Areas of lifting along craquelure in black upper right. Abrasion with associated lifting and loss at lower corners and along lower edge. Canvas slightly buckled upper left corner and has minor indentations from behind at center right. Indentation from behind with two pin-sized punctures to canvas upper right. Scattered spots of loss to thickly painted areas. Under UV: no apparent signs of in paint. Areas flouresce bu most likely from different applications of varnish, inherent to artist's technique.
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.

This important work by San Francisco painter Nathan Oliveira dates from early in the artist's career, two years before his inclusion in MoMA's groundbreaking exhibition New Images of Man in 1959. The fully abstract nature of the present work makes it a relative rarity within the artist's oeuvre; although his content usually straddles the figurative and the abstract.