Richard Lindner, ‘Pause’, 1958-1961, Sotheby's: Contemporary Art Day Auction

From the Catalogue

"At times Lindner composes almost totally as if the cryptic symbols and colours themselves were to be read as formal messages. Then he refers to the history of modern art with witty extrapolations: A Léger mass against a Mondrian line, a Metaphysical symbol against a later-day pop target." —Dore Ashton, “Richard Lindner: the secret of the inner voice,” in Exh. Cat., Berkeley, University of California, University Art Museum, Lindner, 1969, p. 8

Courtesy of Sotheby's

Signature: signed and dated 1958-61

New York, Cordier and Warren, Richard Lindner Paintings: Ten Years, October 1961
London, Robert Fraser Gallery; London, Tate Gallery, Richard Lindner Painting and Sculpture of a Decade 1954-64, June - July 1962, no. 12, illustrated
Cleveland Museum of Art, Richard Lindner, November 1967 - January 1968
Hannover, Kestner-Gesellschaft, Richard Lindner, December 1968 - January 1969, cat. no. 40, p. 73, illustrated
Leverkusen, Städtisches Museum Schloß Morsbroich; Baden-Baden, Staatliche Kunsthalle, Richard Lindner, November 1968 - September 1969, cat. no. 40, p. 23, illustrated
Berkeley, University of California, University Art Museum; Minneapolis, Walker Art Center, Lindner, June - August 1969, cat. no. 27, n.p.
Paris, Musée de la Vie Romantique, Richard Lindner Adults-Only, February - June 2005

Dore Ashton, Richard Lindner, New York 1968, pl. no. 69, n.p., illustrated
Rolf-Gunter Dienst, Lindner, New York 1970, cat. no. 13, n.p., illustrated
Art News, May 1977, p. 139
Werner Spies, Ed., Richard Lindner: Catalogue Raisonné of Paintings, Watercolors, and Drawings, New York 1999, cat. no. 48, p. 65, illustrated

Cordier & Ekstrom Inc., New York
Ned L. Pines, New York
Thence by descent to the present owner

About Richard Lindner

A successful illustrator for Vogue and Harper’s Bazaar, Richard Lindner took up painting in his 50s, drawing on expressionistic exaggeration, Surrealist fantasy, and Cubist manipulations of form. He became known for erotic and enigmatic renderings, first based on memories from his childhood in Germany and later inspired by the vulgar, fetishistic aspects of life in New York. His harsh colors and highly defined outlines exaggerated the garishness of the streetwalkers, circus women, and men in uniform that became his favorite subjects. Overtones of Berlin’s cabaret culture of the 1930s infuse his style. Although his work shares some aspects of Pop art, he avoided the association.

German, 1901-1978, Hamburg, Germany