Piero Manzoni

Manzoni Collection, Milan
Acquired by the present owner in 1978

Rome, Galleria Nazionale d'Arte Moderna, Piero Manzoni, 1971, no. 21
London, Tate Gallery, Piero Manzoni. Paintings, Reliefs & Objects, 1974, no. 12

Germano Celant, Piero Manzoni: Catalogo Generale, Milan 1975, p. 128, no. 13 CG, illustrated (upside down and with incorrect dimensions)
Freddy Battino and Luca Palazzoli, Piero Manzoni Catalogue Raisonné, Milan 1991, p. 279, no. 369 BM, illustrated
Germano Celant, Piero Manzoni Catalogo Generale, Vol. II, Milan 2004, p. 427, no. 229, illustrated

Colour: The colours in the catalogue illustration are fairly accurate although the overall tonality is slightly richer in the original. The catalogue illustration fails to convey fully the sculptural qualities of the folds and creases. Condition: This work is in very good condition. Upon close inspection there are very minor horizontal scuff marks to: the left of the extreme bottom edge; below the centre of the lower left quadrant; towards the bottom of the top left quadrant; and towards the top right corner. There is a small media splash towards the centre of the lower right quadrant. No restoration is apparent under ultraviolet light.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"I am quite unable to understand those painters who, whilst declaring an active interest in modern problems, still continue even today to confront a painting as if it was a surface to be filled with colour and forms...Why shouldn't this surface be freed. Why not seek to discover the unlimited meaning of total space, of pure and absolute light.'' (Piero Manzoni, 'Free Dimension' in Azimuth no. 2, Milan, 1960).