RAYMOND PETTIBON | No Title (My heart tells...)

Richard/Bennett Gallery, Los Angeles
Acquired from the above by the present owner in 1990

University of Chicago, The Renaissance Society; New York, The Drawing Center; Philadelphia Museum of Art; Los Angeles, Museum of Contemporary Art, Raymond Pettibon, September 1998 - January 2000
Santa Monica Museum of Art, The Books 1978-2001, May - June 2001
Museu d’Art Contemporani de Barcelona; Tokyo Opera City Art Gallery, Raymond Pettibon: Plots Laid Thick, February - August 2002 
New York, New Museum; Maastricht, Bonnefantenmuseum, Raymond Pettibon: A Pen of All Work, February - October 2017, p. 184, illustrated

Roberto Ohrt, Ed., Raymond Pettibon: The Books 1978-1998, New York 2000, illustrated on the cover

This work is in very good condition. The work is hinged verso to the mat board in the top two corners. There are artist's pinholes in each of the four corners, only visible when unframed. Upon close inspection, there is evidence of very faint discoloration along the edges, again only visible when unframed. There is a faint ink smudge in the left collar of the figure near the bottom edge, likely inherent to the work and from time of execution. Under very close inspection, there are faint horizontal lines in the sheet, most likely inherent to the handmade paper process. 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.

"As Pettibon explains, he is dealing with the function of the self-portrait as a genre—the cultural claim to individual and transcendental subjectivity—and not exclusively with his own personality. The self-portraits do not so much testify to self-centered scrutiny, but appear rather schematic, rough even. Still, however wide the variations in imagery, Pettibon can always be identified by a characteristic curl of the hair." Ulrich Loock in Exh. Cat., Hamburg, Sammlung Falckenberg and Museum der Moderne Salzburg, Raymond Pettibon: Homo Americanus, 2015, p. 679