Francesco Clemente

Gagosian Gallery, New York
Acquired by the present owner from the above in June 1995

New York, Guggenheim Museum; Bilbao, Guggenheim Museum, Clemente, October 1999 - June 2000, pl. no. 142, illustrated in color

This work is in very good condition. There are several irregularities and tears to the burlap, one; an approximate 4 in. vertical tear, extending from the extreme lower left edge, located 23 inches from the left edge. There are three small holes located just above the face and foot at the right third of the composition, and several small holes within the face and at the neck of the face. Sotheby's has addressed these tears, surface irregularities and present condition of the burlap with the artist, who affirmed that all is inherent to the support which was the original support from the Theater of the Russian Ballet by Serge Diaghileff in the 1920's. At the time the work was conceived, the burlap was first addressed by a conservator and stabilized. It is Mr. Clemente's opinion that no further measured has to be taken. Also note that the stretcher is collapsible in three parts, and that the burlap is stretched over a linen support with Velcro, in order to facilitate installation and transport of the work.
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.

Franceso Clemente is one of the greatest image-makers of our times; images which are invariably related to his ideas of freedom and excess, never merely a proliferation of iconographies but rather a totally natural outpouring of inner life, and a invitation to examine the meaning of his work. Maria Corral