Lot 409
  • 409

JOHN CURRIN | Brown Lady

Estimate
150,000 - 200,000 USD
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Description

  • John Currin
  • Brown Lady
  • signed and dated 91 on the reverse
  • oil on canvas
  • 28 by 26 in. 71.1 by 66 cm.

Provenance

Andrea Rosen Gallery, New York
Collection of Laura and Stafford Broumand, New York
Andrea Rosen Gallery, New York
Acquired from the above by David Teiger in May 2003

Exhibited

New York, Andrea Rosen Gallery, John Currin, March - May 2001
Chicago, Museum of Contemporary Art; London, Serpentine Gallery; New York, Whitney Museum of Contemporary Art, John Currin, May 2003 - February 2004, p. 33, illustrated in color

Literature

Francesco Bonami, "U.S. Pain: New American Figuration," Flash Art, May - June 1992, p. 101, illustrated in color
Kara Vander Weg, Ed., John Currin, New York 2006, pp. 72-73, illustrated in color

Condition

This work is in very good condition overall. There is evidence of minor wear and handling along the extreme edges of the canvas. Under Ultraviolet light inspection, minor hairline cracking within the brown paint of the front collar flap slightly fluoresces but is not the result 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.

Catalogue Note

“I thought of these women as harlequins, the way that Picasso looked at circus people as a corny way of talking about his own ruthlessness…These women had no more sexual value; they were only interested in culture, like museum patrons. These women mirrored my own situation as a painter and the political problem of being a painter.” John Currin