Arnaldo Pomodoro

Private Collection, Italy

Sam Hunter, Arnaldo Pomodoro, New York 1982, p. 61, no. 52, illustration of another example
Exhibition Catalogue, Columbus Museum of Art, Arnaldo Pomodoro: A Quarter Century, 1984, n.p., no. 54-55, illustration of another example
P. Bobba, 'Arte del quotidiano', in: La mia casa, Sesto San Giovanni 1989, p. 75, illustration of another example
B. Cascella, 'Opere d'arte ad uso privato', in: Brava casa, Milan 1989, pp. 68-69, illustration of another example
Laura Tansini, 'I protagonisti', in: Arte In, Mestre 1995, n.p., illustration of another example
Flaminio Gualdoni, Pomodoro lo turbo e 'l chiaro, Milan 1998, pp. 20 and 24
Flaminio Gualdoni, Arnaldo Pomodoro, Catalogo ragionato della scultura, Milan 2007, tomo II, p. 443, n. 190, illustration of another example

Colour: The colours in the catalogue illustration are fairly accurate. Condition: The work is in very good condition. There are tiny spots of oxidation in places to the irregularities of the surface as to be expected for this media. Close inspection reveals few faint irregularities to the reflective surface scattered through out the composition and very faint handling marks. Please find attached an image of the reverse.
"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 perfection of form in Brancusi was so beautiful and mysterious: what can one do after Brancusi, or after Arp? Then at a certain moment I said to myself, really this perfection of the form in our time is inappropriate; it has to be destroyed. For me the 'destruction' element was my most important discovery, and the most authentic both in terms of myself and my times" (the artist cited in: Sam Hunter, Arnaldo Pomodoro, New York 1982, p. 52).

Realized in 1960, La Colonna del Viaggiatore IV (The Voyager's Column IV) represents one of the earliest and greatest examples of Pomodoro's mature oeuvre.  Pomodoro envisioned the first version of La Colonna del Viaggiatore in 1959, which was his first attempt to overcome the static flatness of his earlier bas-reliefs in order to reach a new dynamism in his work through sculpture. "This perhaps was a prelude to being able to face up to three dimensions, the dimension of movement. [...] I knew I had to move from relief to a more solid sculptural presence, in my first curved columns" the artist cited in: Sam Hunter, Arnaldo Pomodoro, New York 1982, p. 52.

La Colonna del Viaggiatore IV represents a crucial moment in Pomodoro's career and anticipates the artist's signature style. The seemingly surgical accuracy of the polished surface is deliberately contradicted by the ruptures of the vertical reliefs that visually compromise the pristine bronze surface. This sense of tension transforms La Colonna del Viaggiatore IV into a 'complex and changeable experience' by being both monumental and fragile.