MAX BILL | 1-7 Hin und Zurück

Marlborough Galerie A.G., Zurigo
Torino, Galleria d'Arte Narciso
Ivi acquistato dall'attuale proprietario

Ginevra, Musée d'Art et Histoire, Max Bill, 1972
Torino, Galleria d'Arte Narciso, Max Bill, 1984, n. 11

This work is in generally good overall condition. There are minor traces of craquelures by the orange towards the lower left corner, by the center of the green left margin, by the fuchsia upper margin and a very small one by the white square to the upper right. There is a tiny scratch visible only under raking light towards the center of the right edge in the red area. There are small shallow scratches on the pink colour by the lower margin and in the upper right on the white paint. No evidence of retouching is visible under UV light.
"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."

"Razionalista nel rivendicare la funzione dell'arte, Max Bill non incontra però i sentieri della coscienza critica dell'afasia europea, cioè del misticismo totalmente ateo di Mondrian, della sua gnosi radicalmente agnostica, cioè la costruzione pura.
Mondrian infatti per attingere il massimo rigore esclude qualsiasi riferimento all'intera realtà umana, mentre Max Bill, che chiama la propria arte concreta (...) dilata e contiene spazialmente e logicamente forme poligonali alle quali riesce a conferire una vettorialità che nasce dalla decisione umana dell'artista, ma la cui inclusione estetica va riferita a un ordine superiore e a uno schema di complessità (...)". 
Marzio Pinottini, Max Bill, catalogo della mostra alla Galleria d'Arte Narciso, 1984

Opera registrata presso il Max, Binia+Jabob Bill Stiftung, Adligenswil