James Rosenquist

Wetterling Gallery, Stockholm (acquired directly from the artist)
Private Collection, Stockholm
Sotheby's, New York, November 2, 1994, lot 382
Acquired by the present owner from the above sale

This work is in very good condition overall. There is evidence of light wear and handling along the edges, resulting in minor paint loss along the bottom edge and corners of the canvas. Under Ultraviolet light inspection, there is no evidence of restoration. 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.

With the acute voyeuristic eye of Beaudelaire's flâneur, the artist captures the imagery of modern life and then casts it anew in his paintings, effectively constructing oil paint collages out of fragments of daily experience.  That Rosenquist often pieces together true collages as preparatory models for his paintings only adds physical confirmation of the artist's status as a master "gatherer" and synthesizer of the discrete aspects of our experience that, when pasted together, help to illuminate the human condition. Inspired by a commission for the Royal Swedish Opera in Stockholm, his large-scale rendition of a woman's seductive gaze enmeshed with bright orange and red flowers was designed to "radiate heat on a frosty night in February".