JEAN-MICHEL BASQUIAT | Untitled (Head)

Henry Geldzahler, New York (gift of the artist)
Thence by descent from the above to the present owner

New York, The Century Association, The Henry Geldzahler Collection, October - November 1985

This work is in excellent condition overall. The sheet is hinged verso to the mat in all four corners. There is evidence of wear and handling, with associated faint creases in the top left and bottom left corners. The edges of the sheet show faint signs of time-staining, most likely inherent to the artist's chosen medium. Framed under Plexiglas.
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.

“The drawing, Untitled (Head), 1981 was one of two ‘Head’ drawings Basquiat made expressly for Geldzahler while visiting his weekend home at 39 Walnut Street in Southampton, New York. The same day Basquiat also painted Henry Geldzahler, a portrait that features the badge that Geldzahler carried as a New York City Commissioner—an object that Basquiat was particularly fascinated by. All works were created with 'found' materials. The portrait was made with house paint, collage and pencil on wood, all found in the house and garage. The two 'Head' drawings were made using a box of Prismacolor pencils and a pad of Bristol board, art supplies that David Hockney kept at Geldzahler's house, where he was a frequent visitor. When Basquiat saw the art supplies he sat down on the floor and quickly got to work.” Raymond Foye