Enrico Castellani

Acquistato dall'attuale proprietario direttamente dall'artista nel 1979 circa

This work is in generally good overall condition. The painting has been restored by Enrico Castellani in the early Eighties, he wanted to stop the coming out of a few nails that were lacerating the canvas surface in correspondence of the protrusions that go from the fifth to the ninth nails of the penultimate vertical row. This restoration is visible only from the reverse of the canvas while the front being executed from the artist himself is perfect. There are some traces of wear on the top of the first 4 protrusions of the last horizontal row and on the second of the protrusions along the penultimate vertical row. The tonality of white is warmer compared to the catalogue illustration.
"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."

Il solo criterio compositivo possibile nelle nostre opere sarà quello non implicante una scelta di elementi eterogenei e finiti (...). ma il solo che, attraverso il possesso di un'entità elementare, linea, ritmo indefinitivamente ripetibile, superficie monocroma, sia necessario per dare alle opere stesse concretezza di infinito, e possa subire la coniugazione del tempo, sola dimensione concepibile, metro e giustificazione della nostra esigenza spirituale.

The only possible composition criterion in our works will be that which does not involve a chioice of heterogeneous and finite elements (...). Although the only one which by way of the possession of an elementary, linear entity, indefinitely repeatable rythm, monochrome surface, is nevessary in order to give concretness of the infinite to the work themselves, able to undergo the conjugation of time, the only conceivable dimension, yardstick and justification of our spiritual need.

Enrico Castellani, Continuità e nuovo, in Azimuth, n. 2, Milano 1960