Agostino Bonalumi

Galleria del Naviglio, Milano
Galleria Fumagalli, Milano
Ivi acquistato dall'attuale proprietario nel 2004

Gillo Dorfles, Bonalumi, Milano 1973, p. 82, illustrato, p. 83, illustrato a piena pagina
Modena, Galleria Civica d’Arte Moderna, Bonalumi, 1974, s.p., n. 61, illustrato
Fabrizio Bonalumi e Marco Meneguzzo, Agostino Bonalumi, Catalogo ragionato, Vol. II, Milano 2015, p. 433, n. 441, illustrato

Please refer to the Modern and Contemporary Art department for a professional condition report.
"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 è vero che l'uomo, sin dai primissimi tempi della sua attività creativa e operativa nel mondo, ha mirato a determinare, attraverso il suo specifico intervento, un suo spazio privato, modificando artificialmente ciò che, dalla natura, gli era stato fornito; credo, che, anche in futuro, - almeno nel futuro che ci è lecito prevedere -una delle sue esigenze vitali resterà quella d'una modulazione plastico-cromatica dello spazio vitale. Ecco perché un'opera come quella di Bonalumi rientra in quello che è oggi, e che potrà probabilmente essere anche domani, l'assetto formativo del nostro spazio ambientale. Dall'oggetto di serie, divenuto ormai prodotto totalmente industrializzato e spesso scaduto  a semplice "soprammobile"; si passa così all'oggetto-ambiente; all'oggetto che determina uno spazio esistensivo, e di questo spazio costituisce il fondamentale appannaggio. 

Gillo Dorfles, in Bonalumi, Edizioni del Naviglio, Milano 1973, p. 12

If it is true to say that man, right from the very first days of his creative and operative activity in the world, has endeavoured through his specific intervention to establish a private space of his own by artificially altering what nature had provided for him, then I believe that in the future too - at any rate in the legitimately predictable future - on of his vital needs will continue to be a plastico-chromatic modulation of his living space. this is why Bonalumi's work belongs to what is today, and will probably also be tomorrow, the formative arrangement of the environmental space we live in. So the mass-produced object, which has by now become a totally industrialized product and is often debased to the status of mere "knick-knack", is superseded by the environment-object; by the object which determines an extant space and constitutes the fundamental attribute of this space. 

Gillo Dorfles, in Bonalumi, Edizioni del Naviglio, Milano 1973, p. 13