Otto Dix

Ilse Wilke, Germany
Private Collection, Germany (by descent from the above)
Private Collection, Austria (acquired from the above in 2005)
Thence by descent to the present owner in 2008

Oil on a wooden fan. There does not appear to be any evidence of retouching visible under UV light. Three of the central blades are slightly uneven in shape, probably inherent to the fan. There is some minor general wear in places, inclusive of some very fine splits (only visible in a raking light) to some of the blades and entirely consistent with age and handling. There is some very minor and stable paint shrinkage to some of the red pigments, but overall the medium has remained in remarkably good condition, especially considering that the fan has been used in the past. Overall this work is in very good condition.
"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 on a wooden fan, this strikingly original work is emblematic of many of Dix’s post-war tendencies. What could better fragment a composition, along cubist and futurist principles, than a folding fan; each stick holding a part of the composition, shapes sprawled out amongst them, ready to extend or retract at any moment. A fantastical face dominates the composition, thick red lipstick, bright yellow skin and surreal oversized eyes. Inscriptions on the verso reveal a successive chain of dedications and names; these would have been left by different partners on the night of a dance, a tradition that had continued from the 19^th century into the early 20^th. Loose English translations of these inscriptions read as follows: ‘The other side tells you everything!’ (Hans Meyboden) and beneath this: ‘The youth is a blooming crown of roses winding into the dance’ (G. Henning). Hans Meyboden had been a pupil of Oskar Kokoschka’s since 1915, and judging by his inscription we can suppose he was a friend, or at the very least a dancing partner of the actress Ilse Wilke, the original owner of the fan. Rich in history and strikingly illustrated, this fan is Dix at his most creative and original.