Alicia Penalba

Private collection (acquired directly from the artist on May 2, 1980)

Attractive deep green patina. There is some patina loss in places notably to the edges. There is some plaster residue visible which can be easily removed and some dust to the crevices. There are some minor spots of verdegris in places, predominately to the base. This work is in good condition.
"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."

"Thus in this way Alicia Penalba learned how to build stars. She makes them from stone or silver, from gold, wood, but always bringing them forth from the original magma or the eternal whiteness. Her wrinkled and explosive creations preserve the original seal of that silence, of those thunders which destroy and create . The streets of the world, the cities mark their artists with indelible ink, from a shop or boutique. Those who come from space are permanently marked on the forehead by the storm, by fire, by cold, or by geography. " (Pablo Neruda, 1972). All the poetry and strength of Penalba’s art is conveyed by Neruda’s words. The Argentinian artist arrived in Paris at the end of the 1940s. Beginning her career by working in the studio of Ossip Zadkine, she decided to devote herself entirely to sculpture. For over thirty years, she created a tremendous body of work, characterized by powerfully dynamic organic forms. Through her unique and audacious style, she quickly became one of the most important sculptors of the international non-figurative movement. Her work is included in the collections of major international museums, notably the Kröller-Müller Museum in Otterlo and the Centre Paul-Klee in Berne, alongside works created by the greatest sculptors of the twentieth century.