- 213
Robert Indiana
Estimate
150,000 - 200,000 USD
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Description
- Robert Indiana
- Zero
signed, titled and dated NYC 1965 on the reverse
- acrylic on canvas
- 24 by 24 in. 61 by 61 cm.
- Executed in 1965.
Provenance
Galerie Schmela, Düsseldorf (acquired directly from the artist)
Private Collection, Düsseldorf
Christie's, London, May 25, 1995, lot 146
Acquired by the present owner from the above
Condition
This work is in very good condition overall. There is a faint 1 1/2 inch abrasion in the upper left quadrant, 2 inches from left edge. There is no evidence of restoration, under Ultraviolet light inspection. 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.
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.
Catalogue Note
"The forms of Robert Indiana derive from slot machines, pin-wheels and amusement park art but are transformed in his hands to extremely simple geometric and verbal statements. The decorative and abstract elements seem to be a means toward both a childlike fantasy and sly social criticism." - Lawrence Rubin ("Review", The Providence Sunday Journal, July 28, 1963)