Lot 135
  • 135

LEONCILLO | Senza titolo - Bozzetto per pannello

Estimate
55,000 - 70,000 EUR
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Description

  • Senza titolo - Bozzetto per pannello
  • grès e smalti
  • cm 60x35x4
  • Eseguito nel 1956-57

Provenance

Collezione Leonardi, Roma
Collezione privata, Monza
Ivi acquisito dall'attuale proprietario

Exhibited

Spoleto, Chiostro San Nicolò
Roma, Galleria Nazionale d'Arte Moderna
Parma, Galleria d'Arte Niccoli, Leoncillo, 1991, p. 43, illustrato
Bologna, Galleria d'Arte Maggiore, Leoncillo. Sculture, opere su carta, 2002
Bologna, Galleria d'Arte Maggiore, Leoncillo, 2018

Literature

Claudio Spadoni, Leoncillo, Roma 1983, p. 303, n. 16, illustrato
Torre Colombera di Gorla Maggiore, Fra Terra e Cielo. Fontana, Melotti, Leoncillo, a cura di Debora Ferrari, 1995, p. 13, illustrato

Condition

This work is in very good overall condition. There are few minor drying cracks inherent to the artist's choice of material and media. No traces of retouching appear to be visible under UV light.
"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."

Catalogue Note

“Leoncillo pensava in ceramica, ma nel modo più eletto; come Michelangiolo pensava in marmo, accogliendo cioè le possibilità insite nel procedimento tecnico e delle qualità esteriori come una struttura di visione. […] Ci fu un periodo […] in cui era riuscito a fondere nella ceramica sottigliezze pittoriche ineffabili. Era il periodo in cui voleva scolpire l’aria, e nella sua parola vaga e al tempo stesso precisa inseguiva quest’idea come si sostiene un aquilone lontano nel cielo, con un filo. Questo filo Leoncillo non lo perse mai.” Cesare Brandi, Scritti d’arte, Milano 2013 "Leoncillo thought in ceramic, but in a most selective way; like Michelangelo he thought in marble, accepting the possibilities inherent to the technical process and to its external qualities as a structure of vision. [...] There was a period [...] in which he succeeded in fusing ineffable pictorial subtleties into his ceramics. During this period he wanted to sculpt the air, and in a - as he claimed- vague, but simultaneously perfectly precise way, he pursued this idea as one controls a kite far above in the sky, with only a string. Leoncillo never let go of this string."



Opera registrata presso la G.A.M. Archivio Leoncillo, Bologna, con il n. 1956-57/001/G02FC