Enrico Castellani

Collezione dell'artista
Galleria Arte al Borgo, Palermo
Galleria Emilio Mazzoli, Modena
Studio d'Arte Pescali, Milano
Ivi acquistato dall'attuale proprietario nel 1984

Palermo, Arte al Borgo, Enrico Castellani, 1979, p. 4, illustrato
Modena, Galleria d'Arte Emilio Mazzoli, Enrico Castellani, 1979

AA.VV., Contemporanea Como 5, catalogo della mostra, San Pietro in Atrio, spazio ex Ticosa corpo a-shed, Como 2000, p. 22
Renata Wirz, Federico Sardella, Enrico Castellani. Catalogo ragionato. Tomo secondo. Opere 1955-2005, Milano 2012, p. 447, n. 467, illustrato

This work is in generally good overall condition. There are two restores visible under UV light on the top of the last nail of the first vertical row and by the top of the third to last nail of the penultimate horizontal row. There is one craquelure between the five and six to last nail tops of the third to last horizontal row. A professional condition report is available upon request.
"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 percorso più recente di Castellani adotta nei confronti del sistema dei punti rientranti o a rilievo una singolare libertà, anche se sempre permane il modello della scrittura nella sequenza delle linee, e così abbiamo rettangoli con disegni modulari diversi rispetto ai margini, abbiamo zig-zag, nuclei come sotto compressione e in espansione, diagonali, doppi punti di minore o maggiore intensità, nuclei quadrati, tutto questo insomma ci riconduce prima di tutto al problema del perché della ricerca di Castellani, alle sue motivazioni consce ed inconsce, o, meglio, ai nostri modelli di lettura, ai modelli che possiamo applicare ad un percorso come questo, di una coerenza esasperata, come si diceva, da una profonda coscienza civile. (…)

(…) Castellani adopts in his most recent path a singular freedom with regard to the system of reentrant or relief points, although always remains the model of composing in the sequence of lines, and so we have rectangles with different modular designs than along the margins, we have zigzag, areas under compression and expansion, diagonals, double points of minor or greater intensity, square areas, basically all this brings us first of all to the reason of Castellani’s research, to his conscious and unconscious motivations, or rather our reading patterns, the patterns that we can apply to a path like this, of a exasperated coherence, as you said, by a deep decency. (…)

 Arturo Carlo Quintavalle, “Al di qua dell’eros”, in A. Bonito Oliva, A.C. Quintavalle, “Enrico Castellani”, catalogo della mostra, Università di Prama, Centro Studi e Archivio della Comunicazione, Parma, 1976, p. 18.