Sir Eduardo Paolozzi

The surface of the relief is dirty and there are scattered stains as to be expected from a piece that has been hanging in situ since its inception. The work would undoudtedly benefit from a professional clean otherwise in excellent original condition.
"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."

For Paolozzi, a printmaker as well as a sculptor who first made reliefs in Paris in the late 1940s, the medium of relief always retained a place of importance in his art. At all times there was a sculptural intention behind his reliefs which was much more than the creation of a pictorial effect. In the modernist tradition of the Bauhaus, the reliefs Paolozzi made were always conceived as functional complements to modern architecture rather than merely as applied decoration. When he returned to relief as a sculptural medium in the 1970s, the first were for the ceiling of Michael Spens's redesign of Cleish Castle, Kinross-shire (1972-3; now reinstalled in the Dean Gallery, Edinburgh), and the second were for the doors of William Whitfield's new Hunterian Art Gallery, University of Glasgow (1976-80; now obscured). Relief continued to be an important medium for public work by Paolozzi, both in Britain and Germany, sometimes on a massive scale (On This Island, 1986, Queen Elizabeth II Conference Centre), but on a domestic scale Paolozzi's reliefs and related work soon became part of London's restaurant history. As well as the Neal Street Restaurant, Paolozzi's work was also to be found in Langan's Brasserie off Piccadilly (1975-6, sold Bonhams London, 30 September 2004, lot 110), Enzo Apicella's Pizza Condotti, Mill Street (1981, sold Christies London, 9 June 2006, lot 232); and in The Caprice (1983-4), The Ivy, Kentners, and several other restaurants.

The Neal Street Relief was commissioned by Antonio in the late 1980s. As the accompanying text which Paolozzi wrote shows (see fig.1), the artist intended the relief as a visual testimony to his friend Antonio's love and knowledge of mushrooms, for which the cuisine of the Neal Street Restaurant was famous. The relief was made by Paolozzi and his principal assistant Ray Watson at the Royal College of Art during the summer recess of 1990. A presentation copy of Antonio Carluccio's book A Passion for Mushrooms (1989), inscribed on the title page To Eduardo with much love Antonio London 19. 7. 89 (private collection) has illustrations flagged by Paolozzi for photocopying, typically showing the pains Paolozzi took to make this classic relief.

We are grateful to Robin Spencer, author of the forthcoming Eduardo Paolozzi catalogue raisonné for his kind assistance with the cataloguing of this lot.