- 40
Agostino Bonalumi
Estimate
60,000 - 80,000 EUR
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Description
- Agostino Bonalumi
- Rosa
- firmato e datato 64 sul retro
- tela estroflessa e tempera vinilica
- cm 70x60
Provenance
Acquisito dal padre dell’attuale proprietario direttamente dall’artista alla metà degli anni Sessanta
Condition
This work is in mint condition. No traces of retouching appear to be visible under UV 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."
"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."
Catalogue Note
"Certo, il dichiararsi assolutamente diversi, in arte, è una malattia infantile dell'avanguardia: oggi, a distanza di più di quarant'anni da quelle prove, è difficile non guardare con un sorriso quello che allora veniva affermato in maniera tanto battagliera, eppure nel concetto di oggetto c'era qualcosa di più di un semplice artificio avanguardistico, molto più di un'azione di propaganda, tanto per usare termini bassamente operativi. L'affermazione di una pittura come oggetto, prima ancora che come rappresentazione o, peggio, narrazione, rispondeva pienamente all'esigenza di rinnovamento di quegli anni, e ne costituiva probabilmente il maggior apporto di cambiamento" (cit. M. Meneguzzo in Oggetto, superficie, pittura)