Acquired directly from the artist by the father of the present owner

Original canvas which is buckling in the top corners. There are minor abrasions along the edges. There is a layer of surface which has collected in the areas of impasto. Inspection under UV light does not reveal any apparent signs of retouching. Unframed.
"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."

This collection was formed by the Italian journalist Luigi Fossati following the end of the Thaw when non-conformist and dissident artists were once again driven underground. At the time Fossati was the Eastern correspondent at Il Giorno, who was posted first to Hamburg, Warsaw and then Moscow between 1964 and 1969. It was Hans Bjorkegen, the Swedish poet, historian and preeminent translator of Russian literature into Swedish, who first introduced him into the circle of the Moscow nonconformists and the Fossatis’ apartment soon became a meeting place for artists, foreign journalists and diplomats. Fossati’s wife was herself an amateur artist and struck up a friendship with Anatoly Zverev in particular, often making him generous gifts of artist’s materials.