ALIGHIERO BOETTI | Fregio (Secondo)Fregio (Ottavo)Fregio (Sedicesimo)

Galleria Lucio Amelio, Napoli
Ivi acquistato dall'attuale proprietario nei primi anni Novanta

Napoli, Galleria Lucio Amelio, Alighiero e Boetti, 1990

In general, the works are in good overall condition. There is a tear towards the upper side of the left margin of two friezes. There is a minor tear towards the fin of a figure on one frieze. There are some lifts of the collage parts. There are slight traces of dirt and foxing scattered on the surface of the three friezes.
"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."

“Nel ’65 prendo un appartamento al Parco Margherita: in cucina mangio, vivo e dormo, le altre due stanze le dedico all’arte”, racconta Lucio Amelio riferendosi agli esordi della sua proficua carriera da gallerista, con l’apertura della Modern Art Agency. “Prima, se andavamo a Napoli, stavamo tutti stipati nella stanzetta di Lucio Amelio, in galleria a Piazza dei Martiri. A un certo punto, tutti nel grande albergo”; queste sono invece le parole di Matteo Boetti, ricordando i giorni in cui il papà Alighiero si impegnava per affermare la propria arte e il cuore filantropo di Amelio, memore dei propri scomodi inizi, offriva ospitalità nella sua nuova e ormai celebre galleria. 

Il rapporto tra i due viene coronato nel 1986 con la partecipazione dell’artista al progetto Terrae Motus (titolo di invenzione dell’allora sottosegretario ai beni culturali, nonché sommo rappresentante della napoletanità, Giuseppe Galasso), collezione promossa da Amelio come accelleratore culturale per risollevare la città di Napoli  dopo il grave terremoto del 1980. L’iniziativa è un’assoluta novità e coinvolge straordinari artisti per l’epoca quali Joseph Beuys, Keith Haring, Anselm Kiefer, Andy Warhol, Enzo Cucchi, Mimmo Paladino, Giulio Paolini, Michelangelo Pistoletto, Mario Schifano e lo stesso Boetti, tuttavia viene accolta con diffidenza dalla millenaria città di Napoli. Trova infine sede nella Reggia di Caserta e tuttora costituisce una delle più importanti raccolte pubbliche di arte contemporanea in Italia. Proprio per Terrae Motus Alighiero realizza l’opera Di palo in frasca nell'estate dell'anno 1986, accanto al Pantheon, e la fruttuosa collaborazione tra queste due inventive personalità prosegue e culmina nelle due grandi mostre personali dell’artista: Tra sé e sé, nel 1987 e Alighiero e Boetti, nel 1990.  

"In 1965 I took an apartment in Parco Margherita: in the kitchen I ate, lived and slept, the other two rooms were dedicated to art", wrote Lucio Amelio in reference to the start of his highly successful career as a gallery owner, with the opening of the Modern Art Agency. "Before, when we went to Naples, we were all crammed into Lucio Amelio’s small room in the gallery in Piazza dei Martiri. Then, at a certain point, everyone moved to the big hotel". These are the words of Matteo Boetti, recalling the days when his father Alighiero was working assiduously to establish himself and the ever-philanthropic Amelio, perhaps mindful of his own uncomfortable beginnings, offered hospitality in his new and now famous gallery. 

The relationship between the two was crowned in 1986 when the artist participated in the Terrae Motus project (an invention by the then undersecretary of Italian cultural heritage, and representative of Neapolitan way of life, Giuseppe Galasso), a collection promoted by Amelio as a cultural accelerator to revive the city of Naples after the severe earthquake of 1980. The initiative was an absolute novelty and involved extraordinary contemporary artists such as Joseph Beuys, Keith Haring, Anselm Kiefer, Andy Warhol, Enzo Cucchi, Mimmo Paladino, Giulio Paolini, Michelangelo Pistoletto, Mario Schifano and Boetti himself. This group was, however, greeted with suspicion by the ancient city of Naples. It finally settled permanently in the Royal Palace of Caserta becoming one of the most important public collections of contemporary art in Italy. In the occasion of Terrae Motus Alighiero realised the work Di palo in frasca nell'estate dell'anno 1986, accanto al Pantheon, and the fruitful collaboration between these two inventive personalities continued and culminated in the artist’s two historical solo exhibitions:  Tra sé e sé (Between himself and himself), in 1987 and Alighiero e Boetti, in 1990.



Opere registrate presso l'Archivio Alighiero Boetti, Roma, con i n. 7181, 7182 e 7183
Le opere sono accompagnate da certificati di autenticità rilasciati dall'Archivio Alighiero Boetti, Roma