James Rosenquist

Galerie Heiner Friedrich, Munich
Acquired by the present owner from the above in November 1968

Krefeld, Kaiser Wilhelm Museum, Sammlung Helga und Walther Lauffs - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, November 1983 - April 1984, cat. no. 288, p. 84, illustrated

This work is in good condition and in working order. There is evidence of soiling throughout particularly evident at the entry points of the bulbs which have darkened the correlating orifices over time. The canvas is slightly slack overall, barely visible as the work is installed. There is a horizontal line, measuring approximately 6 inches in width, extending through the ENT text (between the LIVING and BEDROOM), relating to a stretcher bar.
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.

The present work by James Rosenquist is the small version of the painting with an eponymous title, presently in the permanent collection of The Museum of Modern Art, New York. In the larger version, the artist combines diagram, typography and light bulbs, on a more grandious scale. Small Doorstop, intimate in comparison, similarly depicts a very well detailed floor plan for a domestic residence. Through the diagram, the artist investigates the dichotomy of living spaces with their interaction and dependence on electronic technology. Rosenquist tellingly represents the house without any specific connotation relating to an individual. This results in an anonymous portrait of contemporary existence. The two primary colors imprint to the painting an effect of extraordinary vitality and recall the vibrant coloration so favored by Rosenquist and his Pop contemporaries. The arbitrary combination of unusual elements creates a surreal map which moves beyond its mundane original purpose of architectural planning. Small Doorstop is indeed a very distinctive example of the diversity of Rosenquist's artistic production.