GERHARD RICHTER | Spiegel, Blutrot

Wako Works of Art, Tokyo
Private Collection, Hiroshima
Sotheby's, London, 15 February 2012, Lot 20
Acquired from the above sale by the present owner

Tokyo, Wako Works of Art, Gerhard Richter Part II: Painting, Mirror Painting, Watercolour, Photograph, Print, May 1996, n.p., illustrated in color 
Kanazawa, 21st Century Museum of Contemporary Art, Gerhard Richter: Painting as Mirror, September - October 2005, p. 98, illustrated

Exh. Cat., Bonn, Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Gerhard Richter. Werkübersicht / Catalogue Raisonné 1962-1993, Vol. III, 1993, cat. no. 736-6, illustrated in color 
Emanuele Garbin, Il bordo del mondo. La forma dello sguardo nella pittura di Gerhard Richter, Venice 2011, p. 97
Dietmar Elger, Gerhard Richter: Catalogue Raisonné 1988-1994, Vol. IV, Ostfildern 2015, no. 736-6, p. 360, illustrated in color

This work is in very good condition overall. There is evidence of light wear and handling along the edges, most notably a 1.5-inch loss to the pigment along the bottom edge just left of center and at the lower right corner. Under raking light, some scattered minor and unobtrusive hairline scratches are visible on the surface, inherent to the artist's chosen medium. Unframed.
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.

“Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.”
Gerhard Richter