Lot 106
  • 106

Richard Diebenkorn

Estimate
200,000 - 300,000 USD
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Description

  • Richard Diebenkorn
  • Untitled
  • signed with artist's initials and dated 79
  • gouache, charcoal and ink on joined paper
  • 17 by 29 1/4 in. 43.2 by 74.3 cm.

Provenance

M. Knoedler & Co., New York
Private Collection (acquired from the above in 1979)
Martha Cooley, New York (acquired in 1981)
Private Collection (acquired from the above in 1995) 
James Corcoran Gallery, Los Angeles (acquired from the above in 1997)
Acquired from the above by the present owner in 1997

Exhibited

New York, M. Knoedler & Co., Richard Diebenkorn, May 1979

Condition

This work is in very good condition overall. There are multiple artist's pinholes in all four corners and in the corners where the papers have been joined. There is a slight undulation to the sheet, inherent to the artist's working method. There is a slight crease to the sheet in the lower left and upper right corners, likely inherent to the artist's working method. All irregularities to the surface, texture and media application appear apparent to the artist's working method and intent. The sheet is hinged verso to the mat intermittently along the top edge. Framed under glass.
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.

Catalogue Note

"I recall seeing Cézanne for the first time...I went to the library and got an art book...I mean, it was the only one in a large library, black and white reproductions of Cézanne's pictures. And it was really quite a shock to me!...The crazy sort of spareness and the distortions just hit me very hard...And buildings with skewed verticals and horizontals and backgrounds...A horizon-line or floor-line which came in from one side at this level and popped out at a different level...[it was] very disquieting, shocking, for me. Because my discipline, as a teenager, had been strictly drawing as craft in terms of accurate rendition of what's out there, all the logic of how things sit in relation to their context."

Richard Diebenkorn