Alberto Burri

Collezione Genovese, Roma
Galleria Il Milione, Milano
Galleria Plurima, Udine
Collezione privata, Udine

Vittorio Rubiu, Contributo al Catalogo Generale in Cesare Brandi, Burri, Roma 1963, n. 234, p. 208, illustrato
Fondazione Palazzo Albizzini, Alberto Burri Contributi al catalogo sistematico, Città di Castello 1990, n. 1884, pp. 438-439, illustrato capovolto 
Fondazione Palazzo Albizzini, Burri, Catalogo generale, repertorio cronologico 1945-1994, Città di Castello 2015, vol. I, p. 270, tav. 642, illustrato a colori, vol. VI, i. 5767, p. 117, illustrato a colori

This work is in very good condition. The tonality of the burned area tends slightly more to Yellow, than to red as in the catalogue illustration. There is a light weaving due to the artist's choice of media and materials. The board on which the paper is laid is professionally removable.
"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."

Nonostante delle tele di sacco, delle stoffe varie, delle cuciture di filo, delle lamiere, dei legni combusti […] nonostante i rigonfiamenti della superficie, i buchi, i crateri, le smagliature… a noi pare evidente che si tratta d’un pittore, d’un vero pittore. Consigliamo i visitatori di questa mostra, a non rifiutarsi a quella specie di trauma che un gruppo di opere di Burri inevitabilmente produce su chi abbia gli occhi aperti. A me capitò di provarlo, la prima volta, alla Quadriennale romana del ’55-’56. Non avevo mai veduto, fino ad allora, un solo originale di Burri; m’ero anzi formata l’idea che si trattasse di più o meno abili trucchi… Appena entrata nella sala, l’idea cadde immediatamente: l’urto più o meno forte, più o meno gradevole, che ogni opera di vera pittura, d’ogni secolo e tendenza, produce nell’occhio dello spettatore qui si verificò immediatamente… Non ho dovuto pentirmi, a tutt’oggi, di quella prima imperiosa impressione.

Despite the canvas sacks, the various fabrics, the stitching wire, the metal sheets, the combusted woods [...] despite the bulging surfaces, the holes, the craters, the stretch marks ... it seems obvious to us that we're in front of a painter, a true painter. We recommend visitors of this exhibition to refrain from refusing that kind of trauma that a group of works by Burri inevitably produces on whoever has his eyes open. I happened to experience this, for the first time, at the Rome Quadrenniale '55 -'56. I had never seen, so far, one single original work by Burri; I had indeed formed the idea that it was more or less about skilful tricks ... As I entered into the hall, the idea fell immediately: the more or less strong, the more or less pleasant shock that any work of real painting, of every century and trend, produces in the eye of the beholder here occurred immediately... I did not have to regret, to date, that first imperious impression.

Francesca Arcangeli, Opere di Alberto Burri, catalogo di mostra, Galleria La Bussola, Torino, 1957