Max Liebermann

Leo Lewin, Breslau (acquired directly from the artist in 1922) 
Max Glaeser, Eselsfürth & Pfalz (acquired by 1926)
Sale: Christie's, London, December 1, 1987, lot 164
Gemälde-Cabinett Unger, Munich (acquired by 1988)
Kunstsalon Franke, Munich (acquired by 1996) 
Private Collection, London (acquired from the above by 1996 and sold: Sotheby's, London, February 5, 2007, lot 23)
Acquired at the above sale

Zurich, Kunsthaus Zurich, Max Liebermann, 1923, no. 102, illustrated in the catalogue
Dusseldorf, Kunstverein für die Rheinlande und Westfalen, Max Liebermann, 1925, no. 72
Munich, Gemälde-Cabinett Unger, Max Liebermann, Carl Hagemeister, 1988, illustrated in color on the cover of the catalogue
Cologne, Zurich & Berlin, Kunstsalon Franke, Max Liebermann, 1992, no. 29, illustrated in color in the catalogue
Bremen, Kunsthalle Bremen, "Nichts trügt weniger als der Schein" Max Liebermann der deutsche Impressionist, 1995-96, no. 63, illustrated in color in the catalogue
Berlin, Alte Nationalgalerie, Max Liebermann-Jahrhundertwende, 1997, no. 5, illustrated in color in the catalogue
Munich, Kunstsalon Franke & Zurich, Galerie Dr. Schenk, Historien-und Landschaftsbilder aus fünf Jahrhunderten, 2002, no. 31, illustrated in color in the catalogue

Kunst und Künstler, 1921-22, illustrated p. 334
Karl Scheffler, "Breslauer Kunstleben" in Kunst und Künstler, 1923, p. 120
Erich Hancke & Max Liebermann, Sein Leben und seine Werke, Berlin, 1923, p. 524
Alfred Kuhn, Max Liebermann, Gedanken und Bilder, Munich, 1923, illustrated on the frontispiece
Karl Scheffler, "Kunstausstellungen Düsseldorf (Kunstverein)" in Kunst und Künstler, 1925, p. 497
Edmund Hausen, "Die Sammlung Glaeser" in Hand und Maschine, Mitteilungsblatt der Pfälzischen Landesgewerbeanstalt Kaiserslautern, 1926, no. 6, pp. 111 & 117
Peter Thoene, Modern German Art, London, 1938, no. 1, illustrated p. 65
Karl Scheffler, "Rückblick auf Max Liebermann" in Kunst und Volk, 1950, illustrated p. 113
Weltkunst, Munich, 1990, illustrated p. 1243
Matthias Eberle, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900-1935, vol. II, Munich, 1996, no. 1922/9, illustrated in color p. 1054 

This work is in very good condition. The canvas is unlined. The varnish is clean. There is some extremely minor fine craqelure to the subject's nose. Under UV light: an uneven varnish causes a fluorescence throughout the composition. There are a few strokes of inpainting along the top and right edges as well as lightly scattered across the composition, though the uneven varnish makes these difficult to fully read and identify. A close examination of the face shows that the face has not been inpainted.
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.