Willem de Kooning

Estate of the artist
Matthew Marks Gallery, New York
Acquired by the present owner from the above in January 1998

This work is in very good condition overall. The colors are bright, fresh and clean. There are multiple artist’s pinholes scattered in all four corners. The lower left corner appears to have been collaged on by the artist at the time of execution. Very close inspection reveals a few small repaired tears along bottom edge: one 4½ inches from the right edge, one 12¼ inches from right edge and one 16½ inches from right edge with partial loss and one repaired tear along the top edge, 5¼ inches from the right edge. The inconsistencies in surface texture appear inherent to the artist’s working method. The sheet is hinged verso intermittently along the edges. Framed under Plexiglas.
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.

Willem de Kooning’s Untitled is a stunning example of his fascination with depicting the female form through the deconstruction of classical formulations of figural representation. De Kooning’s stylistically eclectic oeuvre developed out of his exploration of divergent themes and techniques throughout his lifetime, and this eclecticism is apparent in this lustrous and tactile work on paper. The luminous, earthy reds and yellows are softly and sensually rendered, suggesting but not defining the female figure. The strong graphic quality of the charcoal lines establish a more firm understanding of the subject, yet the work remains mysterious in its abstract state.

The rich warm tones of Untitled are reminiscent of the work of Gustav Klimt and his paintings of female subjects rendered in golds and reds. De Kooning was inspired by artists such as Rubens, Rembrandt, Matisse and Picasso in their representation of the female form, yet he sought to represent the female figure in its purest form. De Kooning spoke of his interest in contributing to the history of female representation in art: “It had to do with the female painted through all the ages, all those idols. And maybe I was stuck to a certain extent, that I couldn’t go on, and it did one thing for me: it eliminated composition, arrangement, relationships, light – I mean all this silly talk about light, color and form. Because there was this thing I wanted to get hold of.” Through its abstract representation of the female form, there exists an undeniable sense of femininity in the tender execution of the oil pastels and charcoal.