Paolo Scheggi

Galleria Farsetti, Prato
Collezione privata, Treviso, inizio anni 2000
Ivi acquisito dalla famiglia dell'attuale proprietario

L.M. Barbero, G. Dorfles, a cura della Galleria Niccoli Parma, La breve e intensa stagione di Paolo Scheggi, Verona, , 2002, p. 143, illustrato

This work appears to be in generally good overall condition. There are light stretcher marks visible under raking light. There is a tiny restore by the center of the first canvas between the two ovals. No traces of retouching appear to be 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."

"[...] Se la ricerca di una dimensione di relazione umana era già
presente nelle Lamiere, e con le Intersuperfici, inizialmente
titolate Zone riflesse a sottolineare la relazione tra più piani
visuali e spaziali delle sue opere, che a Scheggi si rivela una
strada autenticamente sua, sviluppata come una evoluzione
di arricchimento naturale delle complessità tutte spaziali
e concettuali tracciate da Lucio Fontana, corroborata dalla
sua partecipazione attiva e in prima persona al clima di
avanguardia senza compromessi della situazione milanese.[...]"
LUCA MASSIMO BARBERO, in Paolo Scheggi, Forma, Firenze, 2015

"[...]
While the search for an aspect of human interaction was
already to be found in the Lamiere, it is with the Intersuperfici
– initially titled Zone riflesse [Reflected Zones], underlining
the relationship between different visual and spatial planes –
that Scheggi discovers a path entirely his own, developed as
a natural enrichment of the entirely spatial and conceptual
complexities outlined by Lucio Fontana, and corroborated
by his active, first-hand participation in the uncompromising
avant-garde milieu of the Milanese scene. [...]"