Fernando Botero

Private Collection, Germany
Sotheby's, New York, 19 May 1987, Lot 7
Acquired from the above sale by the present owner

Biarritz, Espace Bellevue, Passion et raison d’un esprit constructif: Une Conquête de l’art d’Amérique Latine, Oeuvres de la Fundación Daniela Chappard, June - September 2006, cat. no. 7, illustrated in color 

This work is in very good condition. The canvas has been lined with a non-wax adhesive. The stretcher is not original. The texture of the paint and the lining are very good in general. The painting is softly varnished, which seems appropriate. There are very few retouches. There is no abrasion or weakness to the paint layer. Under ultraviolet light, one can see that there are two small spots of retouching in the lower center about one inch from the bottom edge. There are two retouches in the green shape to the right of the torso of the figure, and a couple of retouches beneath the building in the upper right. Six thin horizontal cracks have been retouched in the neck of the white horse. There are also some retouches around the extreme edges. (This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.) 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.

"Executed at a time when Botero was consciously mimicking effects in the works of other artists, this [series] has horses based on those in the Battle of San Romano, circa 1455, by Paolo Uccello and an eerie atmosphere that is an attempt to imitate the character of paintings by Giorgio de Chirico. [Botero states:] 'De Chirico was conscious of this tradition in italian painting. For me it was important to see paintings done in that spirit.'"  Cynthia Jaffee McCabe, Fernando Botero, Washington D.C. 1979, p. 51