George Grosz

Estate of the artist
Private Collection, United States (and sold: Sotheby's, New York, May 16, 1984, lot 154)
Acquired at the above sale by A. Alfred Taubman

Executed on cream colored wove paper, not laid down. The sheet is hinged to a mount at two places along top edge on verso. Artist pinholes at all four corners and intermittently along left and right edges. There is a thin sheen of varnish on the surface of the recto. The sheet is very slightly undulating at the lower left quadrant. Two inch tear running vertically from the upper edge just the the right of the figure's arm, otherwise fine. There is a very small flattened crease to the left edge just below center. George Grosz Nachlass stamp and numbering on the verso of the sheet at lower right corner. This work is in good condition.
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.

A hallmark in the fundamental studies of any artist, the nude played an extremely important role in the oeuvre of George Grosz, both an autonomous theme in its own right and embedded in the context of larger compositions. The nude was indeed a recurring subject for Grosz, and the present example is typical of the female portraits from the later years of his career, at which point he abandoned pen and ink as his chief means of artistic expression. He turned instead to painting with oils and watercolors, infusing his Rubenesque women with ample color and tonal variations. Here, Grosz models the round, voluptuous contours of the figure’s form with the very precision of a sculptor.