Galerie di Meo, Paris (acquired direclty from the artist)
Galleria Tega, Milan
Acquired directly from the🐬 above by the present owner

Bologna, Galleria d'Arte Moderna, Villa delle Rose, Giulio Paolini, Hotel de l'Univers, 1990, no. 3, pp. 21 and 27, illustrated 
Milan, Galleria Ruggerini & Zonca, Fratelli d'Italia, 1996, illustrated
London, Istituto Italiano di Cultura, Beyond Infinity, The Arte Povera after the Arte Povera, 2001, illustrated

Maddalena Disch, Giulio Paolini, Catalogo Ragionato, Milan 2008, p. 688, no. 676, illustrated in colour
Mario Bertoni, 'Giulio Paolini. Dove Vedo.', in: Segno (Supplemento, Critica e Documentazione), No. 13❀2, Pescara, April 1994, pp. 29-9, illustrated

lot 36 Colours: The colours in the catalogue illustration are fairly accurate, although the overall tonality of the photograph on canvas element is warmer. Condition: This work is in very good condition. Close inspection reveals a small numbers of superficial and faint rub-marks and faint indentations to the canvas on the floor, and a few faint drip-marks to the photograph underneath the chair.
"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."

The surfaces of the canvas or of a sheet of paper are places traversed in past experiences or in future perspectives by infinite projections and experimentations. [...] Every possible image that a surface has represented, or may represent, could be reduced and dilated into the representation of itself. Similar to a bet with the future, it is therefore all about transferring the identity of its artificial nature into that of a virtual instrument. (the artist cited in: Giulio Paolini, 'Lezioni di Pittura' in: Imprinting, Rome 1979