Lovis Corinth

R. Brackl, Munich
Fritz Dägling, Königsberg
Heinrich Thannhauser, Munich (1859-1935, founder of Moderne Galerie Thannhauser in 1909 and proponent of avant-garde art, notably Kandinsky, Klee and Franz Marc) 
Jean Baer, Berlin
Wolfgang Gurlitt, Munich (1888-1965, gallerist, art dealer and collector)
Neue Galerie / Lentos Museum, Linz (purchased from the above in 1953)
Restituted to the heirs of Jean and Ida Baer in 2015

Berlin, Nationalgalerie, 1923, no. 58
Berlin, Nationalgalerie, Lovis Corinth Gedächtnis-Ausstellung, 1926, no. 8
Wolfsburg, Stadthalle; Basel, Kunsthalle; Munich, Staatliche Graphische Galerie; Lovis Corinth: Gedächtnis-Ausstellung, 1958, no. 5, illustrated in the catalogue
Linz, Neue Galerie der Stadt Linz, Lovis Corinth. Ölgemälde und Graphik, 1960
Karlsruhe, Badischer Kunstverein, Liebermann-Corinth-Slevogt, 1960
Karlsruhe, Badischer Kunstverein, Lovis Corinth. Das Portrait, 1967, no. 3
Munich, Städtische Galerie im Lenbachhaus, Lovis Corinth, 1858-1925, 1975, no. 3
Paris, Musée du Petit Palais, Symboles et Réalités: La Peinture allemande 1848-1905, 1985, illustrated in the catalogue
Vienna, Kunstforum; Hannover, Niedersächsisches Landesmuseum; Lovis Corinth, 1992-93, no. 1, illustrated in the catalogue
Munich, Haus der Kunst, Lovis Corinth, 1996
Munich, Haus der Kunst; Berlin, Nationalgalerie; Saint Louis, Art Museum; London, Tate Gallery, Lovis Corinth, 1996-97, no. 3, illustrated in the catalogue

Georg Biermann, 'Lovis Corinth', in Velhagen und Klasings Monatshefte, November 1912, pp. 345-356, no. 4
Alfred Kuhn, 'Lovis Corinth zum 65. Geburtstag', in Kunst-Chronik und Kunstmarkt, 1923, pp. 717-724, no. 102
Alfred Rohde, Lovis Corinth, Königsberg, 1942
Charlotte Berend-Corinth, Lovis Corinth: Die Gemälde, 1958, no. 19, catalogued
Lovis Corinth. 1858-1924, (exh. cat.), Essen & Munich, 1985, p. 40, illustrated
Mechthild Frick, Lovis Corinth. In sechzehn farbigen Tafeln und dreiundvierzig einfarbigen Abbildungen, Berlin, 1989, fig. 1, illustrated
Horst Uhr, Lovis Corinth, Berkeley, Los Angeles & Oxford, 1990, fig. 2, illustrated
Charlotte Berend-Corinth & Béatrice Hernad, Lovis Corinth: Die Gemälde, Munich, 1992, p. 57, no. 19, catalogued; p. 297, illustrated

The canvas is unlined. There is a pattern of fine stable craquelure primarily in an area near the centre of the composition corresponding to the figure's face. Under ultra-violet light the old varnish layers fluoresce somewhat unevenly and the only notable signs of retouching appear to be some thin, carefully-applied strokes to the aforementioned craquelure. This work is otherwise in good overall condition. Presented in a simple gilt frame.
"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."

Painted in Antwerp in 1884, Othello is the most important work Corinth painted in the Flemish capital during the summer he spent there. Though named after Shakespeare's Moor of Venice, the model was a stevedore or sailor on shore leave he encountered in Antwerp. Corinth captures the essence of the man in an entirely Frans Halsian spirit.