- 303
Robert Gober
Estimate
40,000 - 60,000 USD
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Description
- Robert Gober
- Untitled
signed, dated 1990 and numbered 21/35 on the underside
- red casting wax
- 3 by 2 5/8 by 7 1/2 in. 7.6 by 6.9 by 19 cm.
- Executed in 1990, this work is number 21 from an edition of 35 plus 6 artist's proofs.
Provenance
Paula Cooper Gallery, New York
Acquired by the present owner from the above
Acquired by the present owner from the above
Exhibited
New York, Barbara Gladstone Gallery, Robert Gober, Craigie Horsfield and Lawrence Weiner, June - July 1990 (another example exhibited)
New York, Josh Baer Gallery, The Andrew Glover Youth Program Benefit Exhibition, November 1990 (another example exhibited)
New York, Jack Tilton Gallery, Forbidden Games, January - February 1991 (another example exhibited)
Kassel, Documenta IX, June - September 1992 (another example exhibited)
New York, Wooster Gardens, Les Enfants Terribles, July 1992 (another example exhibited)
Rotterdam, Museum Boymans-van Beuningen, Portrait, Still Life, Landscape: A Selection by Robert Wilson from the Collections of the Boymans-van Beuningen Museum, May - July 1993 (another example exhibited)
Ridgefield, The Aldrich Museum of Contemporary Art, Fall From Fashion, May - September 1993 (another example exhibited)
Ridgefield, The Aldrich Museum of Contemporary Art, 30 Years: Art in the Present Tense. The Aldrich's Curatorial History, 1964-1994, May - September 1994 (another example exhibited)
Basel, Museum für Gegenwartskunst, Zimmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorst, June - October 1994 (another example exhibited)
New York, Curt Marcus Gallery, Sculpture as Objects, April - May 1995 (another example exhibited)
Kunsthalle Zürich, Playpen & Corpus Delirium, October - December 1996 (another example exhibited)
Hamburg, Deichtorhallen, Emotion - Junge britische und amerikanische Kunst aus der Sammlung Goetz/Young British and American Art from the Goetz Collection, October 1998 - January 1999 (another example exhibited)
Minneapolis, Walker Art Center; Malmö, Rooseum Center for Contemporary Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art, Robert Gober: Sculpture + Drawing, February 1999 - September 2000, p. 132, illustrated (another example exhibited)
New York, Sara Meltzer's On View, I'm the Boss of Myself, May - June 1999 (another example exhibited)
Baltimore, The Contemporary Museum, IMPACT: Revealing Sources for Contemporary Art, September 1999 - January 2000 (another example exhibited)
Munich, Staatsgalerie moderner Kunst im Haus der Kunst, Food for the Mind: Die Sammlung Udo und Anette Brandhorst, June - October 2000 (another example exhibited)
New York, 48 Wall Street, Art Downtown: New York Painting and Sculpture, June - September 2002 (another example exhibited)
Los Angeles, The Museum of Contemporary Art, Artist's Gifts, June - August 2003 (another example exhibited)
Auckland Art Gallery Toi o Tamaki, Mixed-up Childhood, February - May 2005 (another example exhibited)
Oudenburg, Foundation De Elf Lijnen, Un salon pour Louise Bourgeois, December 2006 - January 2007 (another example exhibited)
Toronto, Ydessa Hendeles Art Foundation, Dead! Dead! Dead!, April 2007 - April 2008 (another example exhibited)
New York, Josh Baer Gallery, The Andrew Glover Youth Program Benefit Exhibition, November 1990 (another example exhibited)
New York, Jack Tilton Gallery, Forbidden Games, January - February 1991 (another example exhibited)
Kassel, Documenta IX, June - September 1992 (another example exhibited)
New York, Wooster Gardens, Les Enfants Terribles, July 1992 (another example exhibited)
Rotterdam, Museum Boymans-van Beuningen, Portrait, Still Life, Landscape: A Selection by Robert Wilson from the Collections of the Boymans-van Beuningen Museum, May - July 1993 (another example exhibited)
Ridgefield, The Aldrich Museum of Contemporary Art, Fall From Fashion, May - September 1993 (another example exhibited)
Ridgefield, The Aldrich Museum of Contemporary Art, 30 Years: Art in the Present Tense. The Aldrich's Curatorial History, 1964-1994, May - September 1994 (another example exhibited)
Basel, Museum für Gegenwartskunst, Zimmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorst, June - October 1994 (another example exhibited)
New York, Curt Marcus Gallery, Sculpture as Objects, April - May 1995 (another example exhibited)
Kunsthalle Zürich, Playpen & Corpus Delirium, October - December 1996 (another example exhibited)
Hamburg, Deichtorhallen, Emotion - Junge britische und amerikanische Kunst aus der Sammlung Goetz/Young British and American Art from the Goetz Collection, October 1998 - January 1999 (another example exhibited)
Minneapolis, Walker Art Center; Malmö, Rooseum Center for Contemporary Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art, Robert Gober: Sculpture + Drawing, February 1999 - September 2000, p. 132, illustrated (another example exhibited)
New York, Sara Meltzer's On View, I'm the Boss of Myself, May - June 1999 (another example exhibited)
Baltimore, The Contemporary Museum, IMPACT: Revealing Sources for Contemporary Art, September 1999 - January 2000 (another example exhibited)
Munich, Staatsgalerie moderner Kunst im Haus der Kunst, Food for the Mind: Die Sammlung Udo und Anette Brandhorst, June - October 2000 (another example exhibited)
New York, 48 Wall Street, Art Downtown: New York Painting and Sculpture, June - September 2002 (another example exhibited)
Los Angeles, The Museum of Contemporary Art, Artist's Gifts, June - August 2003 (another example exhibited)
Auckland Art Gallery Toi o Tamaki, Mixed-up Childhood, February - May 2005 (another example exhibited)
Oudenburg, Foundation De Elf Lijnen, Un salon pour Louise Bourgeois, December 2006 - January 2007 (another example exhibited)
Toronto, Ydessa Hendeles Art Foundation, Dead! Dead! Dead!, April 2007 - April 2008 (another example exhibited)
Condition
This work is in very good condition overall. There are scatter dust accretions and light evidence of wear. Otherwise, there are no apparent condition problems with this work.
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.