Salvatore Scarpitta

Leo Castelli Gallery, New York, n. 101
Galleria Notizie, Torino
Collezione privata, Torino
Galleria l'Elefante, Treviso
Galleria Niccoli, Parma
Ivi acquistato dall'attuale proprietario

Chieti, Museo Archeologico Nazionale d'Abruzzo, Astrattismo italiano 1910-1970, 2006, n. 49

Luigi Sansone, Salvatore Scarpitta. Catalogue raisonné, Milano 2005, p. 176, n. 263, illustrato e p. 320 illustrato a colori a piena pagina

This work is in very good condition. No traces of retouching appear to be visible under UV light. Colours of the catalogue illustration are fairly accurate compared with the original.
"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."

L'attestato di libera circolazione è stato richiesto per questo lotto 

An export licence has been requested for this lot

"Verso il 1954-58, dopo la nascita della figlia Lola, Salvatore aveva portato nel suo studio tutte le fasce di tela adoperate per fasciare la bambina, e dopo averle avvolte intorno a telai di legno, le irrigidiva con la colla e le dipingeva, monocrome o bianco, o rosso scuso, o blu, lasciando fra un giro e l'altro della fascia delle fessure. Questi spazi vuoti risultavano come dei tagli netti aperti, come delle ferite. 
Quei lavori mi colpirono molto per la loro originalità e ache per il loro valore in quanto estensione della sua esperienza pittorica: era il primo esemplare passo avanti dopo la provocazione di Burri".

"Sometime between '54 and '58, after the birth of his daughter Lola, Salvatore took the bands of cloth used to swath the baby to his studio, and after having wrapped them around a wooden frame, he stiffened them with glue and painted them, monochrome, white or dark red, or blue, leaving gaps between the layers of the wrapping. These empty spaces were like open cuts, like wounds.
These works impressed me for their originality and for their value as an extension of his experience as a painter: they represented the first case of a step forward after the provocation of Burri."

Piero Dorazio, cit. in Salvatore Scarpitta. Catalogue raisonné, Milano 2005, p. 117