MARTIN KIPPENBERGER | Untitled

Private Collection, Cologne
Acquired from the above by the present owner

Gisela Capitain, Regina Fiorito and Lisa Franzen, Eds., Catalogue Raisonné of the Paintings: Volume Three, 1987–1992, Cologne 2016, p. 467, illustrated in colour

Colour: The colours in the catalogue illustration are fairly accurate, although there are more pink and blue undertones in the original. Condition: This work is in very good condition. There are scattered media and splash accretions and surface irregularities in places throughout, which are a result of the artist's working process. Close inspection in raking light reveals some light canvas undulation in places with some associated fine lines of craquelure, most notably towards the upper centre right of the composition and towards the lower part of the left edge. Very close inspection reveals a few specks of media that have adhered to the impasto peaks of the diagonal band of red paint. No restoration is apparent when examined under ultra-violet 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."

“From an art-world perspective, [Kippenberger] takes a dig at German artists like Markus Lüpertz and Georg Baselitz, who denied that their militaristic motifs (boots, helmets, guns, eagles) were meant to be read as anything other than empty formal supports for the practice of painting. Kippenberger responds indirectly to the dubious claim by Baselitz that he sought to ‘create no anecdotal, descriptive pictures’. In doing so, Kippenberger conveys an unmistakable sense of comedic timing” (Gregory Williams, ‘Jokes Interrupted: Martin Kippenberger’s Receding Punch Line’, in: Exh. Cat., London, Tate, Martin Kippenberger, 2006, p. 46).