1928 - 2016
SACTO SPECTATOR SPORT
signed and dated 65; signed, titled and dated 1965 on the reverse
oil on canvas
Canvas: 36¼ by 42 in. (92 by 106.7 cm.)
Framed: 37⅜ by 43⅜ in. (94.9 by 110.2 cm.)
This work is in very good condition overall. There is some scattered dust on the surface. There is minor rubbing at the upper left corner, visible upon close inspection. There is a 1 inch accretion in the lower part of the figure's coat that fluoresces under ultraviolet light. Under ultraviolet light, there is a 2 inch area of inpainting visible in the left side of the female figure's coat. Framed without glazing.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Private Collection, Australia (acquired directly from the artist circa 1968)
"My interest in all of the things I've painted has been their visual aura, and in the process of translating the image to paint on canvas, I do things to enhance this. Painting from a photograph serves a similar function as a frame in that it helps to isolate this fragment of reality like a frame does. And the process I use—taking the photograph, projecting it, drawing it, and then painting it—puts four different levels of interpretation between the actuality and the finished painting. During these steps, the thing that is out there that was at the beginning loses its importance. What's here in the painting is ultimately what I'm after."
- Ralph Goings in conversation with Linda Chase, "An interview with Ralph Going At His Studio in Charlotteville, New York," Ralph Goings, New York 1988, p. 21