Lot 230
  • 230

Robert Bechtle

Estimate
200,000 - 300,000 USD
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Description

  • Robert Bechtle
  • Potrero Stroller-Crossing Arkansas Street
  • signed with the artist's initials and dated 88; signed twice, titled and dated 1988 on the reverse
  • oil on canvas
  • 40 by 48 in. 101.6 by 122 cm.

Provenance

O.K. Harris Works of Art, New York
Private Collection, Switzerland
Louis K. Meisel Gallery, New York
Sotheby's, New York, May 3, 1995, lot 325
Private Collection, Vermont (acquired from the above sale)
Christie's, New York, May 17, 2007, lot 195
Acquired by the present owner from the above sale

Exhibited

New York, Louis K. Meisel Gallery, Robert Bechtle and Ralph Goings: A Review of Paintings and Watercolors - 25 Years, October 1993
Oakland Museum of California, Robert Bechtle: Centric 58: Robert Bechtle: California Classic, May - September 2000, cat. no. 8

Literature

Louis K. Meisel, Photorealism Since 1980, New York, 1993, cat. no. 87, p. 37, illustrated in color

Condition

This work is in very good condition overall. The canvas is unlined. There is evidence of very light wear at the turning edges and corners. There is some very faint, hairline craquelure in the blue pigment of the figure’s back at the lower center edge and a few, very minor hairline cracks in the pigment at the right center edge. Framed.
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

“There’s something that’s very intense about the experience of sitting down and having to look at [a photograph] in the way that you do in order to make a drawing of it, or to make a painting of it… by the time you've done that you feel that you've really understood what you were looking at and also that you've left a little of yourself there, and somehow it becomes a way of… possessing the experience in a way that another manner doesn't quite seem to do.”

Robert Bechtle