FRANCESCO SOMAINI | Obliqua. Il gesto

signed and inscribed 59.12, executed in 1959, bronze with patina. This work is registered under Archivio Francesco Somaini, Milan, under no. 59.12 and it is accompanied by a photo-certificate(firmato e iscritto a punzone 59.12, eseguito nel 1959, bronzo patinato. Quest'opera è registrata presso l'Archivio Francesco Somaini, Milano, con il n. 59.12 ed è accompagnata da certificato su fotografia)Obliqua. Il gesto is characterised by a dynamism created in these forms which are as soft as they are spiny. The bronze is moulded masterfully by Somaini, creating a continuous play of shadow and light. His early artistic production saw him working towards a new language of informal sculptures alongside Giacomo Manzù. In the mid-1950s Somaini lighted upon informal abstraction and began to develop his own expressive language, of which this sculpture from 1959 is a perfect example. (Obliqua. Il gesto si caratterizza per una forza che si declina in forme tanto morbide quanto spigolose. Il bronzo è plasmato da Somaini con maestria, il mutuare di luce e ombra è continuo. La sua formazione artistica, iniziata con Giacomo Manzù e proseguita verso i nuovi linguaggi della scultura informale approda, infine, a metà degli anni Cinquanta, alla corrente dell'astrattismo informale. Somaini sviluppa allora un proprio linguaggio espressivo, di cui questa scultura, datata 1959, ne rappresenta il perfetto esempio.) The sale proceeds for this lot will benefit philanthropic activities.(Il ricavo della vendita di questo lotto sarà destinato ad attività filantropiche.)

Galleria Notizie, Turin
Private Collection
Christie's Milan, May 26, 2008, lot 67, Arte Moderna e Contemporanea
Laura Tansini Collection, Rome

Turin, Galleria Notizie, Sculture di Somaini, 1959, illustrated the first stage, mounted on a rectangular double base (illustrato il primo stadio, senza lucidi, montato su doppia base rettangolare)

Exh. Cat. Milan, Galleria Blu, Recenti sculture di Somaini, 1959, illustrated the first stage, mounted on a rectangular double base (illustrato il primo stadio, senza lucidi, montato su doppia base rettangolare)
E. Villa, La sculpture italienne contemporaine, in "Art d'aujourd'hui. Art et architecture", Boulogne sur Seine 1959, p. 5, n. 5912,  illustrated the first stage, mounted on a rectangular double base (illustrato il primo stadio, senza lucidi, montato su doppia base rettangolare)
Mostre di arte moderna a Torino, in "Arbiter", Milano 1960, p. 89, illustrated the first stage, mounted on a rectangular double base (illustrato il primo stadio, senza lucidi, montato su doppia base rettangolare)
A. Audoli, Dopo la guerra la rinascita, in "Antiquariato", Milano 2018, pp. 78-79

This work appears to be in good overall condition. The oxidisation visible is inherent to the artist's choice of media. (IN GENERALE L'OPERA E' IN BUONE CONDIZIONI. L'OSSIDAZIONE E' DOVUTA ALLA SCELTA DEL MATERIALE DA PARTE DELL'ARTISTA.) Please note that article 11 of General Condition of Business (Online Only) is not applicable for this lot  (Si prega di notare che l'articolo 11 delle Condizioni Generali di Vendita (Online Only) non è applicabile per questo lotto)
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.