弗蘭克‧奧爾巴赫

Marlborough Fine Art, London
Acquired directly from the above by the late owners in 1992

London, National Portrait Gallery, The Portrait Now, 1993-94, no. 3

William Feaver, Frank Auerbach, New York 2009, p.152 and p. 316, no. 692, illustrated in colour

Colour: The colours in the catalogue illustration are fairly accurate, though the yellow background is slightly darker in the original. Condition: This work is in very good condition. No restoration is apparent under ultraviolet light.
"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."

"My Dear Ruth, Thank you for your nice letter. You are a most conscientious sitter - I know that it is not always easy...  Looking forward to seeing you on Thursday. All Good Wishes, Frank"

Frank Auerbach, 2^nd November 1991

Frank Auerbach first began painting Ruth Bromberg in late 1991. Of the twenty paintings and countless drawings and etchings forged over the course of two decades, Ruth Bromberg Seated from 1992 is the very first from Auerbach's remarkable corpus of paintings after her likeness. Taking pride of place over the mantelpiece in the Bromberg's apartment on Montagu Square, this painting was the centrepiece of the couple's impressive collection. Conspicuously depicting the painter's famous Windsor chair against a field of exuberant and variegated yellow ochre, the present work dramatically exhibits powerfully expressive brushstrokes. Bromberg described sitting for Auerbach as an involving and engaging experience. Indeed, this attitude is clearly redolent in the present work; Ruth's leant-back, peaceful repose is countered by an angular and forceful painterly articulation. Auerbach's image here stands as the result of severe reworking - a technique that in turn marries urgent psychological analysis with a height of charismatic painterly gesture.