Mario Schifano

Mario Schifano * (Homs, Libya 1934–1998 Rome) Untitled, 1965, signed Schifano, mixed media with collage on thin cardboard, 98 x 78 cm, framed, (PP) The work has been registered with the Archivio Generale dell’’’’Opera di Mario Schifano, Rome under the archive no. 0232312012. Provenance: Private Collection, Italy (purchased directly from the artist)

Mario Schifano * (Homs, Libya 1934–1998 Rome) N. 6, titled, on the reverse signed, dated Schifano, 1960, enamel paint on paper on canvas, 63 x 50 x 5.5 cm, in plexiglas box, (PP) The work has been registered by the Archivio Generale dell’’’’Opera di Mario Schifano under the archive no. 02313121012 . Provenance: Emilio Mazzoli, Modena (with confirmation); Roberto Monti, Rome; Private Collection, Italy Exhibition: Schifano 1960 – 1964, Dal monocromo alla strada, Fondazione Marconi, Milan, 10 February – 26 March 2005, exhibition catalogue, page 21 with ill. Literature: Mario Schifano, A) I°, Opere su tela 1956–1982, Milan, page 27, no. 60/052 with ill. (… ) Imprinted, sometimes, in the layer of coloured paint is a number, almost a Dadaesque signature: because, we understand, Schifano‘s painting is, first of all, a Dada “gesture”. Dadaism is, again, the duplicity of points of view whereby the brilliant intensity of colour directs the viewer‘s attention, letting the viewer share in the artist‘s gesture. It has been said that Schifano‘s painting is, at first sight, nothing more than an indicator of something else. But when this signal is triggered, you feel as if you have entered the spatial coordinates of colour, attention fixed for its own sake which is not a prelude to action, but is not contemplation; in the very instant that you realise the impossibility of formulating a judgement of value on the object of your perception, you become aware - it is already a moment after the first impression - that you are not doing anything other than consciously assuming the endless repertoire of visual practices and signalling ploys which in daily life force you into a process of obliged steps and gazes. (…) Thus it is possible, finally, to assign a value to the innumerable visual practices, to the disparate signalling ploys of our “daily concrete jungle”. (...) If this is, as it seems to us, the process to which Schifano‘s research refers, there is no doubt that this young artist was able to interpret the Dada phenomenon in his own unique way, if only for the novelty of the visual content. (Vittorio Rubiu, Schifano. 1960-1964. Dal monocromo alla strada, page 20)

LOT 37 MARIO SCHIFANO 1934 - 1998 SENZA TITOLO SIGNED AND DATED 69 ON THE REVERSE, CHARCOAL, ENAMEL AND OIL ON CANVAS. THIS WORK IS REGISTERED BY ARCHIVIO MARIO SCHIFANO, ROME, UNDER N. 00228060619 AND ACCOMPANIED BY A PHOTOCERTIFICATE RELEASED BY ARCHIVIO MARIO SCHIFANO, ROME firmato e datato 69 sul retro (su ciascuna tela) carboncino, smalto e olio su tela cm 141x180 (in due parti) 130,000 - 180,000 EUR

Mario Schifano (1934-1998) Fantasia del paziente naturale (Fantasy of the Natural Patient) enamel on canvas, in three parts each: 88 3/8 x 43 3/8in. (224.5 x 110cm.) overall: 88 3/8 x 129 7/8in. (224.5 x 330cm.) Executed in 1970 Acquired directly from the artist in the early 1970s and thence by descent to the present owner. PROPERTY FROM THE COLLECTION OF THE LATE GRAZIELLA LONARDI BUONTEMPO Fondazione Mario Schifano (ed.), A) I, Opere su tela 1956-1982, Milan 2007, no. 70/062 (illustrated in colour, p. 127). Schifano 1934-1998, exh. cat., Rome, Galleria Nazionale d'Arte Moderna, 2008 (illustrated, p. 203). Conegliano, Palazzo Sarcinelli, Galleria Comunale d'Arte, Schifano. Opere 1957-1997, 1998 (illustrated, p. 123). Rome, Galleria Comunale d'Arte Moderna e Contemporanea, Ex Fabbrica Peroni, Mario Schifano. Tutto, 2001-2002 (illustrated, pp. 102-103). Rome, Académie de France à Rome, Villa Medici, Incontri...dalla collezione di Graziella Lonardi Buontempo, 2003 (illustrated in colour, pp. 150-151 and 278). Naples, Museo Nazionale di Capodimonte, Omaggio a Capodimonte. Da Caravaggio a Picasso, 2007-2008. My husband Michael Sonnabend and I met Mario Schifano in Rome in 1960 through Plinio de Martiis and we were very impressed with his paintings I think it announced many things that came after Pop Art - Minimalism and Conceptual Painting...We proposed to Mario Schifano to represent him in the gallery we intended to open and started paying him a monthly stipend and buying works (I. Sonnabend quoted in G. Lonardi, 'Schifano: between Graziella Lonardi and Ileana Sonnabend, Mario Schifano. Per Esempio, exh. cat., Palazzo Rancani Arroni, Spoleto, 1998, p. 43).

Mario Schifano (1934-1998) L'ora Esatta (The Exact Time) signed 'Schifano' (on the reverse) silkscreen inks on linen 31 3/8 x 43 5/8in. (79.7 x 110.6cm.) Executed in 1973-1978 Private Collection, Rome. Mario Schifano, A) I, Opera su tela 1956-1982, Milan, 2007, no. 73-78/086 (illustrated in colour, p. 211). This work is recorded in the Fondazione Mario Schifano, Rome, under no.: 73/78-86.