- 472
Georg Baselitz
Estimate
200,000 - 300,000 USD
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Description
- Georg Baselitz
- Russentanz
- signed, titled and dated 17.VII.99 on the reverse
- oil on canvas
- 78 1/2 by 63 1/2 in. 199.4 by 161.3 cm.
Provenance
Galerie Thaddaeus Ropac, Paris
Acquired from the above by the present owner
Acquired from the above by the present owner
Condition
This work is in excellent condition overall. There is evidence of light wear and handling along the edges and at the corners of the work. The areas of impasto are stable and intact. 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.
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.
Catalogue Note
"Baselitz paints the world upside down, like a human retina in reverse; his visual field is upended and projected, one mark at a time, onto the canvas. It's a demanding perceptual conversion, like walking backwards through a crowd. The purpose of this self-imposed awkwardness has been to ensure that the visual translation natural to painting is made with maximum attention. Try it. You'll see how exhausting it is—exhausting to do, exciting to see."
David Salle, How To See, New York 2016, p. 130