FRANK STELLA | Il Drago e la Cavallina Fatata (3x)

Leo Castelli Gallery, New York (LC #485)
Victor and Sally Ganz, New York (acquired from the above in October 1985) 
Christie's, New York, 10 November 1997, Lot 58 (consigned by the above) 
Acquired from the above sale by the present owner

New York, Museum of Modern Art; Amsterdam, Stedelijk Museum; Paris, Musée national d'Art moderne, Centre Georges Pompidou; Minneapolis, Walker Art Center; Houston, Contemporary Arts Museum; Los Angeles, Los Angeles County Museum of Art, Frank Stella: 1970-1987, October 1987 - August 1989, pp. 167 and 136, illustrated in color

This work is in good and sound condition overall. There is evidence of wear along the edges. There are scattered areas of flaking and intermittent paint loss, most noticeably in the areas of pink pigment. There is craquelure present throughout the work and there is also flaking and raised areas of paint in the joints of the elements. Most variations in surface texture and color are likely inherent to the artist's working method and chosen materials. Over time, the varnish on the surface of the work has contracted, which has further variegated the surface sheen of the work also consistent with works from this series.
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.

"[The Cones and Pillars series] introduces forms that stand for a free-flying aggressive energy, together with a general disposition to be against flatness, consistency and homogeneity, and in favor of multiplicity—whether of mark, of medium or of overall shape. The new work lives in tumult, but that tumult makes perfect and unprecedented sense. It is, in fact, the work not of a cloistered sage, but of a highly intelligent highwayman. And—make no mistake—you will not forget the moment when it looks straight at you and says, 'Hands up!'" John Russell, "The Power of Frank Stella," The New York Times, 1 February 1985, p. 68