JENNIFER BARTLETT | Four A.M.

Paula Cooper Gallery, New York
Acquired from the above by the present owner in 1994

New York, Paula Cooper Gallery, Air: 24 Hours, October 1992
Philadelphia, Locks Gallery, Jennifer Bartlett: 24 Hours, April - May 1994
Lancaster, Hammond Galleries, Personal Stories: A History of the Universe, July - August 1994

Deborah Eisenberg, Air: 24 Hours Jennifer Bartlett, New York 1994, p. 27, illustrated in color

This work is in very good condition overall. The colors are bright, fresh and clean. There is light evidence of wear and handling along the edges. The bottom edge of the canvas is taped. Visible only under close inspection and extreme raking light, there is scattered hairline craquelure, most noticeable to the right of the towel. Under Ultraviolet light inspection, there are no signs of restoration. Unframed.
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 paintings announce themselves as puzzles not only by the struggle against resolution and by the enigmatic and highly charged atmospheres, but also by their clear intention that each, though self-contained, fit into a whole...The paintings are in sequence, and on each one there is the face of a clock, either light gray signifying day, or dark gray signifying night. The hands of the clock point to the house—the timepiece is resolute, and in the tense balance of each scene, the moment feels attenuated in its it-ness. But in every one of the pictures, time seems to be shaking itself loose, proliferating, working its way along the floorboards or up a trellis, out from notes written as reminders, from boxes of implements waiting to be used, from a pair of shoes about to be work—from all the clutter of daily life, poignantly cataloguing its inventory of hope, neglent, readiness for service, other occasions, other purposes."
Deborah Eisenberg, Air: 24 Hours Jennifer Bartlett, New York 1994, p. 6