L13023

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Lot 113
  • 113

Getulio Alviani

Estimate
20,000 - 30,000 GBP
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Description

  • Getulio Alviani
  • Superficie a Testura Vibratile
  • signed on a label affixed to the reverse
  • aluminium
  • 111.1 by 27.8cm.; 43 3/8 by 10 7/8 in.
  • Executed in 1966.

Provenance

Galleria la Città, Milan
Acquired directly from the above by the late owner in 1980

Exhibited

Genova, Galleria La Polena, Alviani, 1970
Livorno, Galleria Peccolo Arte Contemporanea, Getulio Alviani, 1972

Condition

Colour: The colours in the catalogue illustration are fairly accurate, although the catalogue illustration fails to fully convey the reflective and metallic quality of the surface of the original. Condition: This work is in very good condition. Extremely close inspection reveals a few very tiny and unobtrusive surface scratches to the metal. There are a few tiny media accretions towards the lower left edge and a further tiny speck left of the centre of the composition.
"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."

Catalogue Note

“We worked — with diligence and without the desire for fame — on optical problems, perception, virtual images, the intrinsic dynamism of the work, the intervention of the spectator, on light and space, on seriality, new materials and on an unseen presentation of what was known, with mathematics and exact forms as a base. All of this was conducted with a new spirit, with a rationality and logic that promoted new operative modes, different expressive possibilities and all those elaborated phenomena, ideologies and psychologies relative to the problems of the visual and the optical.”

(Getulio Alviani cited in Flash Art, Notes and Memories on Kinetic Art by One of its Protagonists, 2007)