Lot 163
  • 163

Albert Oehlen

Estimate
80,000 - 120,000 GBP
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Description

  • Albert Oehlen
  • Untitled
  • signed and dated 91 on the reverse
  • oil on canvas
  • 116 by 89cm.; 45 5/8 by 35in.

Provenance

Galerie Max Hetzler, Cologne
Private Collection, Italy
Sale: Sotheby's, London, Contemporary Art, 8 February 2007, Lot 427
Acquired directly from the above by the present owner

Literature

Burkhard Riemschneider, ed., Albert Oehlen, Cologne 1995, p. 157, no. 123, illustrated in colour

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is slightly brighter and more vibrant in the original, with the pigment along the right edge tending more towards green. Condition: This work is in very good condition. Upon very close inspection, there are two short intersecting hairline cracks towards the centre of the composition beneath the top edge. No restoration is apparent when examined under ultra-violet light.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

'In the course of fifteen years, Albert Oehlen has made a vigorous contribution towards ensuring that painting does not cease to "render visible", as Pual Klee put it. He has completely reassessed the concept of visual perception by placing more emphasis on the mind's eye. In doing so, he has reintroduced one of the most useful qualities in art: that of lucidly revealing the substance of visual perception. Painting excels in affirming precisely this: "the centre of art".

(Fabrice Hergott in: Burkhard Riemschneider, ed., Albert Oehlen, Cologne 1995, p. xx)