Robert Ryman

Galerie Konrad Fisher, Düsseldorf
Private Collection (acquired from the above in 1974)
Sotheby's, New York, May 13, 2003, lot 4
Acquired by the present owner from the above sale

This work is in very good condition overall. The impastoed area in the center presents scattered fine craquelure. There are a few small scattered losses to the top layer of the white painted area. Framed under Plexiglas.
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.

Robert Ryman is best known for his monochromatic expressionistic canvases. Untitled, from 1963, belongs to a small number of intimate, unstretched paintings Ryman produced between 1960 and 1963, which he identifies as individual paintings, not studies. The majority of these works are dominated by an area of lively strokes of white oil paint between which swaths of green or blue pigment glow. The area of the paint is largely confined to the center of the painting, revealing raw canvas on all four sides that is accentuated by the canvas' ragged, rough-hewn edges. Untitled is firmly situated early in Ryman's career, when his paintings maintained a free-flowing character. Ryman's expansive, nonobjective oeuvre can be illustrated by his own, apt words, "There is never any question of what to paint only how to paint."

Ryman's close friend, Urs Rasmüller, described the sentimental, subjective experience brought upon by Ryman's work: "Ryman's paintings do not exert any force. Instead they allow things to happen. They do not insist on a theoretical concept and need not be perceived in a specific way. Observers are free to enjoy the effect of the painting. The more you experience their effect, the more you will notice that you yourself open up..."