Sergio Camargo (1930-1990)

Gift from the artist
Private Collection, Scandinavia 
Thence by descent

Hovikodden, Henie Onstad Kunstsenter, Gromholts-Samling, November 28, 1973-January 1974, no. 16

The panel is in very good condition. The surface displays some minor wear along the edges. The seams between the panel and the two large dowels are visible due to dimensional movement in the wood, which is typical of the artist’s work. Tiny fissures in the wood can be seen on the aged surface and along the sides of the panel that are also due to the movement of the wood. A faint ¾” long depression in the wood on the PR side edge was observed 6” down from the top corner. The paint is tightly bound with no significant losses or abrasions noted. The panel is structurally sound. (This condition report has been prepared courtesy of Wilson Conservation, LLC)
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

'Just as it would be impossible to calculate an orbital flight with Roman numerals, so the contemporary artist has had to invent another system of language to enable him to understand and express the reality of which he has become aware. It was important to undertake the destruction of established academic values, to efface them. For they were blocking thought, they were preventing us from approaching the vast field of contemporary complexity. I have been able to follow in this arduous enterprise undertaken by creative artists since the beginning of the century, a continuing process of dematerialization of the work of art. Subjects don't count any longer, and the extraction of pure forms has opened the way to a freer kind of creation where the material object, transposed is dissolved into a psychic field, lyrical space, palpitating a kind of aura which the work creates for itself.'

Sergio Camargo 

Guy Brett, Sergio Camargo: Luz E Sombra, Sao Paulo, Arauco, 2007, p. 48