Thomas Schütte

Galerie Philip Nelson, Villeurbanne
Acquired directly from the above by the present owner

This work is in very good condition. Sheets number 1-6, 8,9, 12, 14, 21 and 24 are attached verso to the mount in all four corners. Sheets number 7, 10, 13, 15-20 and 23 are hinged on the reverse of the upper edge to the mount. All of the upper edges are very slightly deckled. The sheets undulate slightly, which is in keeping with the artist's choice of medium. There are a few tiny and unobtrusive media accretions to some of the sheets, which are likely to be 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."

An elaborate exploration of architectural forms in 24 parts, Untitled brilliantly encapsulates Thomas Schütte’s inventive interest in the staging mechanisms of exhibition-making and utopian modernist architecture. With detailed studies of individual architectural elements, domestic buildings and imposing designs, the watercolours of Untitled constitute an encompassing overview of the artist’s signature exploration of small-scale models for imaginary buildings and spaces, executed in a medium that is highly significant for his practice. “Although he is best known as a sculptor, it would in fact be difficult to overestimate the importance of drawing in Schütte’s artistic practice. Schütte’s drawings, whether rendered in ink or in watercolor, express an almost cartoon-like humility and an economy of means that belie both their gravitas and their poetic invocation of the existential dilemmas of being human” (Exhibition Catalogue, Stockholm, Jarla Partilager, Thomas Schütte, 2006, p. 6).