Cindy Sherman

Metro Pictures, New York
Private Collection
Skarstedt Fine Art, New York
Acquired by the present owner from the above in April 2008

New York, Metro Pictures, Cindy Sherman, January 1990 (edition no. unknown)
Hamburg, Deichtorhallen Hamburg; Malmö, Malmö Konsthall; and Lucerne, Kunstmuseum Luzern, Cindy Sherman: Photographic Work 1975-1995, May 1995 - February 1996, no. 77, illustrated in color (edition no. unknown)
Paris, Jeu de Paume; Bregenz, Kunsthaus Bregenz; Humlebaek, Louisiana Museum für Moderne Kunst; and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006 - September 2007, pp. 140, 257 and 297, illustrated in color (edition no. unknown)

Exh. Cat., Milan, Padiglione d' Arte Contemporanea di Milano, Cindy Sherman, 1990, p. 80, illustrated in color (edition no. unknown)
Arthur C. Danto, Cindy Sherman: History Portraits, Munich, 1991, p. 21, pl. 4, illustrated in color (edition no. unknown) and p. 60, illustrated in color (in installation at Metro Pictures, New York, 1990) (edition no. unknown)
Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 191, illustrated in color (edition no. unknown)
Exh. Cat., Rotterdam, Museum Boijmans Van Beuningen (and travelling), Cindy Sherman, 1996, p. 12, Ill. 3, illustrated (edition no. unknown)
Marilyn Yalom, A History of the Breast, New York, 1997, p. 266 (text)
Exh. Cat., Melbourne, National Gallery of Victoria, Beyond Belief: Modern Art and the Religious Imagination, 1998, p. 161, illustrated in color (another example)
Exh. Cat., Raleigh, North Carolina Museum of Art (and travelling), Is Seeing Believing? The Real, The Surreal, The Unreal in Contemporary Photography, 2000, p. 50, no. 17, illustrated in color (another example) and p. 13 (text)
Miles Orvell, American Photography, New York, 2003, p. 173, pl. 106, illustrated in color (edition no. unknown)
Danielle Knafo, In Her Own Image: Women's Self-Representation in Twentieth-Century Art, Madison, Wisconsin, 2009, n.p., pl. 18, illustrated in color (edition no. unknown)
Shearer West, Portraiture, New York, 2009, p. 208, pl. 129, illustrated in color (edition no. unknown)
Exh. Cat., New York, Museum of Modern Art (and travelling), Cindy Sherman, 2012, p. 89, pl. 10, illustrated in color (another example) and p. 42 (text)
Exh. Cat., Oslo, Astrup Fearnley Museet, Cindy Sherman - Untitled Horrors, 2013, p. 123, illustrated in color (edition no. unknown)

This work is in very good condition. A few minor losses to the upper right corner of the sheet and the center of the extreme vertical edges, resulting from contact with the interior of the frame, have been consolidated with careful and precise color matching. This work is framed in a gilt wood frame under Plexiglas.
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.

“Herein lies the brilliance of the history portraits: even where her pictures offer a gleam of art historical recognition, Sherman has inserted her own interpretation of these ossified paintings, turning them into contemporary artifacts of a bygone era.”

Eva Respini, “Will the Real Cindy Sherman Please Stand Up?” in Exh. Cat., New York, Museum of Modern Art (and travelling), Cindy Sherman, 2012, pp. 43-44