What is guaranteed?
signed Karin Kneffel and dated 2016/14 (on the reverse)
oil on canvas
71 by 51¼ in.
180.3 by 130.1 cm.
Executed in 2016.
This work is in excellent condition overall. Under ultraviolet inspection, there is no evidence of restoration. Unframed.
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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Gagosian Gallery, Beverly Hills
Acquired from the above by the present owner
Beverly Hills, Gagosian, Karin Kneffel, New Works, 2016
"Kneffel, who studied philosophy before emerging as a painter, uses realism to examine her own memories and recollections. 'Art is a lie in a certain sense,' she says. 'And that is why it can tell the truth to the reality of everyday life without competing with it. The reality of painting is one reality, the reality of everyday life is another.'"
(Kelsey Campbell-Dollaghan, “Hyperreal Architectural Paintings Examine Mies’s Legacy”, Fast Company, 5 October 2012)