Giuseppe Capogrossi

Centro Culturale Bellora, Milano, n. 2246/00
Collezione Contessa C. M. 
Collezione privata, Giappone
Ivi acquistato dall'attuale proprietario

Venezia, XXVI Biennale d'arte Internazionale, 1952 (esposti i 4 pannelli come Superficie 1)
Roma, X Quadriennale Nazionale d'Arte, 1972-1973
Ferrara, Palazzo dei Diamanti, Capogrossi, 1980, n. 8, illustrato capovolto

Giulio Carlo Argan, Capogrossi, Roma 1967, n. 3 delle tavole in bianco e nero, n. 1 del catalogo, p. 137 (illustrato nel quadrittico poi diviso in quattro parti singole)

There are few areas of consolidated paint losses along the upper margin, along the right upper edge and towards the lower margin. There is a tiny old label by the lower left corner. There are wearing marks with tiny tears along the upper corners. The canvas is slightly wavy especially by the upper right corner. There are two shallow scratches towards the lower right margin.
"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."

L'opera è accompagnata da attestato di libera circolazione

An export licence is available for this lot

“L’emblematismo di Capogrossi non è emblematismo della forma, ma del segno; una superficie invece che un piano, un andamento invece che una direzione di spazio; e invece che delle forme, dei segni, anche se calamitati da un’intenzionale fissità emblematica, che tende costantemente a restituirli ad una specificità strutturale di forme” (Mario Calvesi 1963, in Capogrossi a cura di Giulio Carlo Argan, Edizioni d’Italia, Roma 1967)

“What really matters in Capogrossi is not the form but the sign: a flat surface rather than a sloping one, an evolution rather than a space direction; not forms but signs, stuck in time, thus given back to a structural singularity of forms” (Mario Calvesi 1963, in Capogrossi by Giulio Carlo Argan, Edizioni d’Italia, Rome 1967)