Enrico Castellani

Opera acquistata dall'attuale proprietario alla fine degli anni Settanta

This work is in very good condition. Colour is lighter compared to the catalogue illustration. There is a minor trace of soiling on the extroflection to the centre of the second row from the bottom. No evidence 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."

"Con martello, chiodi, pinze, strumenti così dichiaratamente extrapittorici, tirando la tela agli angoli, attento a inscrivervi rilievi e depressioni, l'artista non la traumatizza e la tela non è un letto di Procuste ma solo il teatro di un'azione che traduce in atto un'esigenza spirituale. Non viene usato l'affondo, il colpo di grazia, non si punta a esaurire ogni possibilità ottica; resta aperta l'eventualità di un proseguimento in una sorta di opera aperta a qualche variazione pur nell'aspetto così completo e concluso che di volta in volta il lavoro ha, a cui d'altra parte l'iterazione non impedisce ben percepibili progressioni"

"With hammer, tacks, pliers, tools so frankly extrinsic to painting, stretching the canvas at the corners, carefully creating swells and hollows, the artist does not violate the surface, but it is not Procrustes' bed, rather simply the theater of an action that translates a spiritual requirement into a deed. The artist does not resort to the lunge, the finishing stroke; he does not intend to exhaust all optical possibilities. The work is left open to the possibility of continuation,however complete and finished its appearance is at any given point; on the other hand reiteration does not prevent quite perceptible progressions."

(Vittoria Coen, in Enrico Castellani, 1999, pp.13-14)