RICHARD DIEBENKORN | Untitled

M. Knoedler & Co., New York
Private Collection (acquired from the above in June 1979)
Thence by descent to the present owner in 1988

New York, M. Knoedler & Co., Richard Diebenkorn, May 1979, p. 15, illustrated in color 
Milwaukee Art Museum, Extended Loan, 1993 - 2018
Santa Fe, Georgia O’Keeffe Museum, Eye of Modernism, March - September 2001, illustrated in color
New York, Acquavella Galleries, California Landscapes: Richard Diebenkorn | Wayne Thiebaud, February - March 2018, pl. 23, pp. 39 and 137, illustrated in color

Richard Newlin, Ed., Richard Diebenkorn Works on Paper, Houston 1987, p. 147, illustrated in color
Exh. Cat., London, Royal Academy of Arts, Richard Diebenkorn, 2015, fig. 27, p. 64, illustrated in color 
Jane Livingston and Andrea Liguori, Eds., Richard Diebenkorn: The Catalogue Raisonné, Volume Four, New Haven 2016, cat. no. 4359, p. 269, illustrated in color

This work is in very good condition overall. The sheet undulates and is intentionally wrinkled throughout, notably along the edges, all of which is inherent to the artist's working method and chosen medium. There are artist's pinholes in all four corners and along the top and bottom edges, some of which have resultant minor tears from the time of execution. The colors are fresh and clean. The sheet is hinged verso intermittently along the edges to the mat. 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.

"In the Ocean Parks, Diebenkorn would surpass [Hans] Hofmann with his dissolving planes and sheets of atmospheric color, creating what Gerald Nordland called 'breathing space.' Diebenkorn became ever more sophisticated in the 1970s, using layer upon layer of diaphanous paint, eliciting subtle sensations of floating forward while tying his color and form back into shallow space with partially submerged charcoal lines reminiscient of the 'lost and found' contours of Cézanne." Susan Landauer, "Significant Space in Diebenkorn's Ocean Parks," in Modern Art Museum of Fort Worth (and traveling), Richard Diebenkorn: The Ocean Park Series, 2012, p. 43