SERGIO CAMARGO | Untitled

Galeria Raquel Arnaud, São Paulo
Acquired from the above by the present owner circa 2008

Biarritz, Espace Bellevue, Passion et raison d’un esprit constructif: Une Conquête de l’art d’Amérique Latine, Oeuvres de la Fundación Daniela Chappard, June - September 2006, no. 98, illustrated in color 

This work is in very good and sound condition overall. The media layer is stable, and the wooden elements are secure. Fine lines of hairline craquelure are present around the edges of the three-dimensional elements. A very light layer of soiling and a few scattered faint handling marks are present on the vertical panel element. On the outward flat face of the lower three-dimensional element, there are six isolated spots of buckling to the paint layer around the edges of the element, as well as a two-inch diagonal fine barely raised line of buckling running from the upper center edge to the center of the panel. A 1-inch line of raised paint is present on the right side of the lowermost three-dimensional element on its upper face. However, the paint layer is stable overall. These areas of buckling and craquelure are consistent with the age of the work and the materials utilized by the artist. Under ultraviolet light examination, no evidence of inpainting becomes apparent.
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.

“Camargo’s sculpture is a balance of intelligence and sensuality (concentrated in the opposites of each cylinder.) It has the tremendous Brazilian feeling for organic life and physical ease of movement; at the same time Camargo never gets lost in the particular, and the logical clarity of his construction can always be seen.” Guy Brett, “Arte cinética” in: Sergio Camargo: Luz e sombra, São Paulo 2007, p. 59