Christopher Wool

Luhring Augustine & Hodes Gallery, New York
Private Collection, New York
Christie's, New York, November 3, 1994, Lot 122
Pierre Huber, Geneva
Acquired by the present owner from the above

New York, Luhring Augustine & Hodes Gallery, Christopher Wool, April 1987
Rotterdam, Museum Boymans-van Beuningen; Cologne, Kunstverein; Bern, Kunsthalle, Christopher Wool, February - August 1991, n.p., illustrated

This work is in very good condition. There is evidence of light wear and scattered unobtrusive rub marks at the edges. There is a very light and unobtrusive abrasion located approximately 22 ¼ in. from the left and 34 in. from the bottom. Otherwise, there are no condition problems with this work. 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.

The flower paintings and the wallpaper paintings portray subjects that we expect to be in color, so the black-and-white reads not as color, but as signifier of its suppression.... Supposedly, then, this condition of visual negativity renders the content of the images deniable, as well... The simple fact is that these paintings are pictures of paintings. They aspire to signify the absence of their presence.
- David Hickey ("Christoper Wool", Artforum, October 1998)