William Kentridge - Preparing for the Day (Large Version) (State 3)
William Kentridge
South African 1955-
Preparing for the Day (Large Version) (State 3)
2000
signed in pencil and embossed with The Caversham Press chopmark in the margin
etching on paper
image size: 60cm by 51,5cm; 117,5 by 84,5 by 4cm including frame
Provenance
The Caversham Press.
Private Collection.
Literature
Warren Siebrits (2026) William Kentridge Prints and Posters 1991-2004 Volume 2.1, Göttingen: Steidl, an impression of state four of the print illustrated in colour on page 59.
Warren Siebrits (2026) William Kentridge Prints and Posters 1991-2004 Volume 2.2, Göttingen: Steidl, another impression from the edition illustrated in colour on page 442.
This was an expansion of one of the images from Little Morals—the woman looking at the mirror, the sliced object or the piece of stone-but in my head it was always a mirror, which refers back to the mirror images that first appeared in Domestic Scenes (1980]; and the manner of drawing of the woman also brings us back to Domestic Scenes, as does particularly the shape of the aquatint shadows seen in the fourth and final state.
– William Kentridge
Warren Siebrits (2026) William Kentridge Prints and Posters 1991-2004 Volume 2.1, Göttingen: Steidl, page 59.
Estimate
Reserve
Time, Location
Auction House
William Kentridge
South African 1955-
Preparing for the Day (Large Version) (State 3)
2000
signed in pencil and embossed with The Caversham Press chopmark in the margin
etching on paper
image size: 60cm by 51,5cm; 117,5 by 84,5 by 4cm including frame
Provenance
The Caversham Press.
Private Collection.
Literature
Warren Siebrits (2026) William Kentridge Prints and Posters 1991-2004 Volume 2.1, Göttingen: Steidl, an impression of state four of the print illustrated in colour on page 59.
Warren Siebrits (2026) William Kentridge Prints and Posters 1991-2004 Volume 2.2, Göttingen: Steidl, another impression from the edition illustrated in colour on page 442.
This was an expansion of one of the images from Little Morals—the woman looking at the mirror, the sliced object or the piece of stone-but in my head it was always a mirror, which refers back to the mirror images that first appeared in Domestic Scenes (1980]; and the manner of drawing of the woman also brings us back to Domestic Scenes, as does particularly the shape of the aquatint shadows seen in the fourth and final state.
– William Kentridge
Warren Siebrits (2026) William Kentridge Prints and Posters 1991-2004 Volume 2.1, Göttingen: Steidl, page 59.