Andreas Gursky

Saatchi Collection, London
11 Duke Street, London
The Pisces Trust
Phillips de Pury & Company, New York, May 13, 2004, Lot 62
Acquired by the present owner from the above sale

New York, Matthew Marks Gallery, Andreas Gursky, November 1997 - January 1998 (another example exhibited)
New York, The Museum of Modern Art, Andreas Gursky, March - May 2001, p. 161, illustrated in color (another example exhibited)
Donaueschingen, Fürstenberg Sammlungen, Ahead of the 21st Century: The Pisces Collection, June 2002 - October 2004, no. 64, p. 89, illustrated in color

Lynne Cooke, Rupert Pfab and Marie Luise Syring, Andreas Gursky: Photographs from 1984 to the Present, Munich, 2000, p. 23, illustrated in color
Monika Steinhauser ed., Ansicht Aussicht Einsicht, Düsseldorf, 2000, p. 85, illustrated in color
Uta Grosenick, Burkhard Riemschneider eds., Art at the Turn of the Millennium, Cologne, 1999, p. 208, illustrated in color
Peter Galassi, Andreas Gursky, New York, 2001, p.161, illustrated in color

This work is in very good overall condition. There are a few scattered pinpoint black accretions located in the white margins of the photograph. The chromogenic print is front mounted to the Plexiglas by the artist and framed. There is a 3 inch unobtrusive repair to the frame located 25 inches from the right edge along the bottom edge.
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.

With breathtaking clarity and rigor "Times Square" represents the culmination of Andreas Gursky's early mature output by bending, reconfiguring and manipulating visual truth to meet the artist's wishes. About Gursky's signature corruption of "spatial logic" Peter Galassi, for his 2001 exhibition catalogue, wrote: "The momentum of this invention would eventually yield 'Times Square' of 1997, an image of commanding symmetrical unity improbably composed of two views looking in opposite directions along a single line of sight, each showing the position from which the other was made... The hallucinatory improbability of this simple strategy is nearly as mind boggling as the picture itself."  (op. cit. p. 38).