- 403
Rudolf Stingel
Estimate
20,000 - 30,000 USD
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Description
- Rudolf Stingel
- Untitled
- signed and dated 93 on the reverse
oil on board
- 16 by 20 in. 40.6 by 50.8 cm.
Condition
This work is in very good condition. There is staining on the recto and verso from the oil paint, inherent to the working method of the artist . The sheet exhibits very minimal surface soiling and faint age disocloration to the extreme edges. 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
Beauty, humor, euphoria, a democratic slant and a resolute sense of economy form the core of Mr. Stingel's art. He combines a love of painting with the postmodern suspicion of it, and often achieves a near-perfect balance between the visual and the conceptual. Roberta Smith (The New York times, June 29, 2007)