Enrico Castellani

Private Collection, Germany
Sale: Lempertz, Cologne, Auktion 900, 1 June 2007, Lot 69
Acquired directly from the above by the previous owner
Private Collection, London

Colour: The colours in the catalogue illustration are fairly accurate, although the white tends more towards a soft ivory in the original. The catalogue illustration also fails to convey the three-dimensionality effect apparent in the original. Condition: This work is in very good condition. There is extremely light wear to the top right and lower left corner tips. There are extremely faint handling marks along the top half of the left edge. There are a few minute fly spots around one of the protruding points to the canvas in the upper centre of the composition, visible upon very close inspection. There are a few minor rub marks beneath some of the protruding parts of the canvas parallel to the lower edge. There are a few extremely faint drip marks towards the lower right corner and one horizontal drip mark running parallel to the right extreme edge which is only partially visible to the naked eye, yet fluoresces under ultra-violet 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."

This work is recorded in the Archivio Enrico Castellani, Milan under number 81-022

"If one hypothetically took away the double rows of the nailed-in nails and protruding nails; the canvas would regain its original tranquillity. If Castellani entrusts the third dimension of the surface to an extension at the limits of breaking-point, this is also where contact with the poetical teachings of Fontana come to an end, exactly at the point where he violates the surface with a final and irreversible gesture."

 

 

(Adachiara Zeva, 'Enrico Castellani: Boundless Spatiality and Temporal Obsession', in: Exhibition Catalogue, New York, Albert Totah Gallery, Enrico Castellani, 1987, n.p.)