Terry Winters

Private Collection (acquired directly from the artist)
Phillips de Pury & Company, New York, May 13, 2005, lot 388
Acquired by the present owner from the above sale

This work is in very good condition overall. There is evidence of light wear and handling along the sides of the canvas, which is only visible when unframed. There is minor surface craquelure down the right edge of the canvas as well as a 2 ½ inch area of faint craquelure 38 inches from the left edge and 29 inches from the bottom edge. Under Ultraviolet light inspection there is no evidence of restoration. 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.

"Winters's convoluted forms give rise to readings that do not allow the eye to rest on any single aspect, but that may be seen simultaneously. At any given moment, some or all of the following impressions may suggest themselves and then quickly fade, to be replaced by others: maps, blueprints, urban aerial photographs, steel girders, spiderwebs, X-rays, molecular structures, microscopic slides of protozoa, the wrap and woof of gauzy fabric, tangles or balls of yarn, fishing nets, the interlace of wintry tree branches, magnified crystals, computer readouts or diagrams of the neurological circuits of the brain, perhaps on information overload. That we can never figure out whether what we're looking at depicts something organic or man-made only adds to the enigma." Carol Diehl ("Thinking, Mapping, Painting," Art in America, April 2005, pp. 112-113)