Robert Indiana

Meridian Fine Art, New York
Private Collection, New York
Sale: Cornette de Saint Cyr, Art Contemporain, Les Nouveaux réalistes, 19 April 2005, lot 131
Acquired from the above sale by the current owner

The colours are fairly accurate in the catalogue illustration although the background tends more towards cream in the original work and the image does not convey the silver colour on the numbers and symbols. The upper right corner presents a wear. There is a small intrusion between the canvas and the stretcher located on the left edge, visible under close inspection. Under Ultra Violet light inspection there is no evidence of restoration. 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."

Emblematic of Robert Indiana’s work based essentially on typographic representations of short, often double meaning words, Meat is part of a series of paintings made by the artist for the decor of the play Red Eye of Love. Written by the famous New York playwright Arnold Weinstein, it tells the story of a curious love triangle implicating a rich butcher who dreams of opening a huge department store selling meat on eight floors, a penniless inventor and a woman who finds it difficult to choose between love and money. The play illustrates thus the contradictions and vicissitudes of American consumer society, a recurring theme in Robert Indiana’s work.

At the time the play was created, John Wulp , its director and a close friend of Indiana from the 1950s where they both regularly met at Coenties Slip, naturally thought of the artist for the play’s décor , which is still occasionally shown on Broadway.