Matta (1911-2002)

Galleria del Cavalino, Venice
Collection Marchini Camia, Milan
Bonomelli Arte, Milan
Arteforum, Inc., Miami
Sale: Tajan, Paris, Art Abstrait et Contemporain, May 3, 1996, lot 39, illustrated in color
Private Collection, New York

Bologna, Museo Civico, Sebastian Matta: Mostra Antologica en Bologna, May-June 1963
Bologna, Matta: A Retrospective, 1965, illustrated
New York, Andrew Crispo Gallery, Matta: A Totemic World, January 11-February 15, 1975, no. 2, illustrated
Roslyn Harbor, Nassau County Museum of Art, Surrealism, September 29, 2000-January 14, 2001
Roslyn Harbor, Nassau County Museum of Art, The Latin Century: Beyond the Border, August 18-November 3, 2002
Roslyn Harbor, Nassau County Museum of Art, A Collector's Insight: Latin Visions, November 15, 2004-February 13, 2005

Matta (exhibition catalogue), Gary Nader, Coral Gables, illustrated

This painting does not appear to be lined but the stretcher is not original and is not very well made or appropriate for a picture of this scale and importance; nonetheless, the canvas remains reasonably effectively stretched. Despite the fact that there are random small losses, mainly on the left side, the paint layer has seemingly never been cleaned or varnished and neither is it dirty. It was probably rolled at some point and during rolling as so often happens, some minor losses and crimps to the canvas and paint layer occurred. The upper right corner shows some signs of the stretching being uneven but this is the only area where the stretching seems to have been hampered by the weak stretcher. In the upper white mark in the upper center there is a diagonal loss which has not been retouched but on the left side here and there running from top to bottom there are a few isolated restorations addressing losses, presumably similar to that one which is un-restored in the upper center. Most notably there is a line of losses to the immediate left of the white shape in the upper left which runs for approximately five inches. In the center of the left side there is a series of losses which make a line running mainly horizontally for approximately two or three inches; this is not a tear in the canvas per se, it is simply a series of losses in a line. Elsewhere also on this side there are isolated restorations. The retouching is not accurate or efficient and almost all of these losses are confined to the left edge. Elsewhere in the picture the condition is particularly good. My advice would be to change the stretcher and to re-stretch the canvas onto a functional, expandable stretcher, which will eliminate the waves in the corners. The retouches should be removed and replaced in a more economic fashion. No cleaning or varnishing will be necessary and the painting will be perceived as being in very good condition, despite having a few retouches on the left side. This condition report has been provided courtesy of Simon Parkes Art Conservation, Inc.
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.