Ettore Colla Sold at Auction Prices

Ettore Colla Plaster Sculpture Bearded Man

19 3/4" tall on a 7" square base. Ettore Colla (1896 - 1968) was active/lived in Italy. Ettore Colla is known for Painting and sculpture.

Ettore Colla Composition Litografia cm 35x50 - in cornice cm 51,5x66,5 1963

Ettore Colla Composition Litografia cm 35x50 - in cornice cm 51,5x66,5 1963

Ettore Colla (Parma 1896 - Rom/Roma 1968)

Untitled, 1955;Monotype on paper, 48 x 65 cm, verso label "Galleria L’Isola Rome" Signed and dated Provenance: Galleria L’Isola Rome, private collection

ETTORE COLLA

ETTORE COLLA (Parma 1896–1968 Rome) Da "Pigmalione". Oil on canvas. 115.5 × 69.5 cm. Provenance: - Malborough Galleria d'Arte, Rome, no. R 2380 (label on the reverse). - Private collection Italy. --------------- ETTORE COLLA (Parma 1896–1968 Rom) Da "Pigmalione". Öl auf Leinwand. 115,5 × 69,5 cm. Provenienz: - Malborough Galleria d'Arte, Rom, Nr. R 2380 (verso mit Etikett). - Privatsammlung Italien.

ETTORE COLLA

ETTORE COLLA (Parma 1896–1968 Rome) Da "Orfeo". Oil and pencil on canvas. 115.5 × 69.5 cm. Provenance: - Malborough Galleria d'Arte, Rome, no. R 2391 (label on the reverse). - Private collection Italy. --------------- ETTORE COLLA (Parma 1896–1968 Rom) Da "Orfeo". Öl und Bleistift auf Leinwand. 115,5 × 69,5 cm. Provenienz: - Malborough Galleria d'Arte, Rom, Nr. R 2391 (verso mit Etikett). - Privatsammlung Italien.

Ettore Colla (Parma 1896 - Rom/Roma 1968)

untitled;lithograph on paper, 43,5 x 34,5 cm Signature and numbering (164/1000) provenance: Private collection

Colla, Ettore (Parma 1896-Roma 1968) - Wheels

lithograph, numbered 637/1000 Signed lower right in the plate This lot is subject to Artists Resale Rights

Ettore Colla (Parma 1896-Roma 1968) - Tribute to Duchamp

lithograph, numbered 440/1000 Signed printed lower right This lot is subject to Artists Resale Rights

LITHOGRAPHIC PRINT BY ETTORE COLLA 1966

ETTORE COLLA (Parma 1896 - Roma 1968) Senza titolo, 1966 Stampa litografica, ex. 58/100 Misure del foglio, cm. 69 x 48 Firma in basso a destra Data e tiratura in basso a sinistra

Ettore Colla (1896-1968) - Senza titolo br> assemblage in ferri di recupero saldati e rielaborati

Ettore Colla (1896-1968) Senza titolo assemblage in ferri di recupero saldati e rielaborati cm 77x47x29

ETTORE COLLA

ETTORE COLLA (Parma1896 - Roma 1968) Senza titolo Litografia, ex. VI/XV Misure del foglio, cm. 50,5 x 68,5 Firma postuma di Maria Colla, in basso a destra Gore di umidità

Ettore Colla, Studio Piattelli

Ettore Colla, Studio Piattelli, Roma 30 Maggio 1972, lithograph, cm 97,5x69,5. Framed. Condition: A.

Ettore Colla COMPOSIZIONE…

Ettore Colla COMPOSIZIONE serigrafia su carta, cm 35x50 sul retro: firma di Giorgio de Marchis e Sandra Pinto eseguito nel 1954 Bibliografia: Arti Visive, n. 6-7, 1954, copertina Giorgio de Marchis e Sandra Pinto, Colla, Roma 1972, N.68a, p.60 Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, Londra 1981, p.129

Ettore Colla( 1896- 1968 ) lithograph signed by Mariolina Colla, wife of the painter

Ettore Colla( 1896- 1968 ) lithograph signed by Mariolina Colla, wife of the painter

Ettore Colla( 1896- 1968 ) lithograph

Ettore Colla( 1896- 1968 ) lithograph 40x60 cm with frame

ETTORE COLLA, Rilievo con spirale

ETTORE COLLA (1896 - 1968) Rilievo con spirale 1966 Sculpture made with found iron in a plexiglass box 33 x 63 cm PROVENANCE: Galleria L'Isola, Rome (label on the reverse) Private collection, Reggio Emilia LITERATURE: G. De Marchis, S. Pinto, with a preface by J. J. Sweney, 'Colla', Bulzoni Editore, Rome, 1972, no. 182

ETTORE COLLA - Preparatory study for the "Genesis"

ETTORE COLLA Parma, 1896 - Rome, 1968 Preparatory study for the "Genesis" Collage on letterhead, 101 x 70 cm Stamped on the back of Galleria Spazio Sette, Verona Photo-Certificate by Archivio Ettore Colla, Rome, 2012 LITERATURE: “Catalogo generale di Ettore Colla”, curated by G. De Marchis e S. Pinto, Bulzoni Editore, 1972, n° 158A CONDITION REPORT: Some flaws upper and lower

Ettore Colla (Italian, 1896-1968)

Senza Titolo (Continuità) lithograph on paper, edition: 777/1000, numbered and signed below image '777/1000, Ettore Colla'

Ettore Colla (Parma 1896 - Roma 1968)

Untitled, 1950; Tempera grassa on canvas, 50 x 70 cm, verso etiquette "la Galleria l’Isola Roma" The work of art is published in the general catalouge with the number45 Provenance: Gallery "l’Isola Roma", private collection

Ettore Colla, Portrait

Defects and shortcomings Plaster sculpture 37.5x20x15.5 cm

Ettore Colla - Solo exhibition

flyer 23 copies, La Tartaruga gallery, Rome 1957

Ettore Colla (1896-1968) Scultura con cerchio ferro di recupero cm 89x29x15,5

Ettore Colla (1896-1968) Scultura con cerchio ferro di recupero cm 89x29x15,5 Realizzata nel 1968

COLLA ETTORE

COLLA ETTORE (1896-1968) Girasole 1956-1957 assemblage in ferri di recupero saldati cm 65x45x30 (pubblicata in catalogo con misure non corrispondenti) provenienza: dal Catalogo Ufficiale della Collezione Fabio Mauri Milano Girasole 1956-1957 assemblage of welded salvaged irons 25 59x17 71x11 81 in (published on the catalogue raisonn� with wrong measurements) provenance: from the Official Catalogue of the Fabio Mauri Collection Milan esposizioni: 1957 Art Foundation Roma-New York';' 1963 Milano 1970 Roma bibliografia:Colla a cura di Giorgio De Marchis e Sandra Pinto Bulzoni editore Roma pag.71 N.92

Ettore Colla (Parma 1896 - Roma 1968)

Rilievo rosso con asta verticale, 1966 lamiera e ferro colorato, cm 57 x 45 Red relief with vertical beam, 1966 metal sheet and colored iron, cm 57 x 45 Pannello a muro eseguito in 4 esemplari di cui uno in Collezione privata, uno nella Collezione Franchina, Roma, uno nella Collezione Maccari, Roma e uno nella Collezione Trotti, Roma BIBLIOGRAFIA: G. de Marchis, S. Pinto, Colla, Bulzoni editore, Roma 1972 p.97 n°183 PROVENIENZA: Collezione Maccari, Roma

Ettore Colla 1896-1968

Ettore Colla 1896-1968 Marte Grande scultura in ferro H. 66 cm 1965 Provenienza Marlbourough Galleria d'Arte, Roma Collezione privata, Roma dal 1973 Esposizioni Lo spazio dell'immagine. Presentazione Palma Bucarelli, Foligno 1967 Galleria Stein. Presentazione M. Fagiolo dell'Arco. Torino 1967 Napoli 1968 Galleria Nazionale d'Arte Moderna, Roma 1970 Marlbourough Galleria d'Arte, Roma 1973 Pubblicazione Ettore Colla Monografia. Giorgio de Marchis e Sandra Pinto, Ed. Bulzoni 1972, n.178 Marisa Volpi, 1966 Lorenza Trucchi, 1970 Giacomozzi, 1970 Autentica su foto di Maria Colla con etichetta e timbro della Marlborough Gallery, Roma Settembre 1973

Ettore Colla (1896-1968)

Ettore Colla (1896-1968) ><i>Ratto d’Europa o Piccolo Saturno <i> ><i>The Rape of Europa or Little Saturn<i> >iron assemblage<br>11.3/8 x 18.5/8 x 14.7/8in. (28.8 x 47.2 x 38cm.) >Executed in 1960-1961<br>

Ettore Colla

Ettore Colla (Italian, 1896-1968) "Bearded Man," ceramic, 11"h, signed, held on a wood base

Ettore Colla (1896-1968) Rilievo con valvola pannello a muro con ferro di recupero cm 77x51x7,5 Realizzato nel 1957-68

Ettore Colla (1896-1968) Concerto assemblage in ferri di recupero rielaborati e saldati cm 300x65x91 Realizzata nel 1954-57

ETTORE COLLA

1896-1968 CERCHIO MAGICO ASSEMBLAGE OF JOINT RECOVERY IRON ELEMENTS. EXECUTED IN 1958 assemblaggio in ferri di recupero rielaborati e saldati cm 133x78x56,5 Eseguito nel 1958

ETTORE COLLA

ETTORE COLLA 1896-1968 SENZA TITOLO collage in cartoncino rosso e nero su carta da spolvero applicata su tela cm 50x70 Eseguito nel 1949

ETTORE COLLA

ETTORE COLLA 1896-1968 SENZA TITOLO collage in cartoncino rosso e nero su carta da spolvero applicata su tela cm 50x70 Eseguito nel 1949

ETTORE COLLA

ETTORE COLLA 1896-1968 CERCHIO CON SBARRA E VALVOLE iscritto e numerato 4/12 sulla base, punzonato e datato Ettore Colla 1966, firmato e datato Maria Colla 1970 ferro cm 25,5x19,5x4,5 Opera postuma

ETTORE COLLA

ETTORE COLLA 1896-1968 SCULTURA CON CERCHIO ferro di recupero cm 89x29x15 Eseguito nel 1968

Ettore Colla (Italian, 1896-1968) Senza Titolo [Meridiana quadrata], 1968 Unsigned, inscri...

Ettore Colla (Italian, 1896-1968) Senza Titolo [Meridiana quadrata], 1968 Unsigned, inscribed "E. COLLA" in marker beneath the base. Iron, 28 1/2 x 20 x 8 1/2 in. (72.4 x 50.8 x 21.6 cm), on a white painted wooden plinth. Condition: Good. Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts. Literature: Giorgio De Marchis and Sandra Pinto, Colla, Roma: Bulzoni, 1972, no. 224 (illustrated). Exhibitions: 24 Presenze, Artisti romani non figurativi, Roma, Istituto Italo-Latino-Americano (IILA), March 26 to April 9, 1969. N.B. Colla's abstract work was considered by James Johnson Sweeney, the late director of the Solomon R. Guggenheim Museum, to be a contradiction in both classicism and 'primitive directness'. His works showed 'restraint and discipline' and 'dedication to order and form' but his technique and materials—which consisted of reclaiming and reconfiguring industrial materials—were handled with the 'respect a cave artist gave the casual materials of his day.' (1) The raw innovation and balance that Sweeney spoke of can be seen in the present work, where the surfaces have been exposed to the elements, and the basic geometric forms of circle and square are repeated, rotated, and suspended in space. It was completed at the artist's home and studio at Viale Parioli, and is a larger version based on a prototype created in 1967. (2) (1) Giorgio De Marchis and Sandra Pinto, Colla, Roma: Bulzoni, 1972, p. 9. (2) Ibid, 106.

Ettore Colla (1896-1968)

Ettore Colla (1896-1968) Senza titolo ferro e legno cm 90x31,2x12,5 Eseguito nel 1966

Ettore Colla (1896-1968)

Ettore Colla (1896-1968) Senza titolo ferro e legno cm 90x31,2x12,5 Eseguito nel 1966

Spirale

Ettore Colla (1896-1968) Spirale ferro colorato alt. cm 84 Eseguito nel 1965 circa

Da Ettore Colla (1896-1968)

Ritratto di Mariolina Colla numerazione, firma, data e titolo 6/12 Maria Colla 1970 da Ettore Colla 1967 "ritratto di Mariolina Colla scultura in acciaio alt cm 17,5 Realizzata nel 1970

Ettore Colla (1896-1968)

Rilievo con ovali e bulloni recycled iron 373/4 x 55 1/8 x 51/2in. (96 x 140 x 14cm.) PROVENANCE Marlborough Galleria d'Arte, Rome. Acquired from the above by the father of the present owner in the 1960s. LITERATURE G. de Marchis & S. Pinto, Ettore Colla, Rome, 1972, no. 229, p. 107. EXHIBITION Rome, Galleria Nazionale d'Arte Moderna, Ettore Colla. Retrospettiva, June-August 1970. This exhibition later travelled to Wuppertal, Fonderheydt Museum, October-December 1970. NOTES The reliefs that Ettore Colla made in the 1950s are widely recognised as being among the finest works of his career. Heralding the artist's break with tradition, they also represent, in a typically Italian way, an acute awareness of tradition and an acceptance that the past always permeates the present and the future. Colla's adoption of the relief as the sculptural format in which he would incorporate the use of the starkly modern and predominantly industrial material of iron deliberately establishes a paradox. The tradition of relief sculpture is particularly strong in Italy, dating back to Classical times and is conventionally seen through the famous 15th century competition to design the doors for the Florence Baptistry, as playing a central role in the genesis of the Renaissance. In his reliefs of the 1950s, Colla consciously chooses to pay homage to this tradition while at the same time to subvert it and announce a new departure. Using objets trouv‚s - found materials from the waste-grounds of modern industrial Italy - Colla reconstructs the classical relief format with the simplest of means and using the simplest of forms. Anticipating much of the conceptual art of the 1960s, Rilievo con ovali e bulloni (Relief with oval and rivets) is minimal in its construction being almost entirely what its title describes it to be. Yet, despite the boldness of its innovation, the radicalism of its simplicity and its incorporation of modern industrial materials, this starkly original relief sculpture is also made by Colla to look like an antique. A typical and deliberate feature of much of the artist's work, this fusing of the modern with the ancient endows the work with a timeless quality and renders the simplest of forms as a puzzling enigma.

Ettore Colla (1896-1968)

Giocoliere no. 3 iron 65in. (165cm.) (diam.) Executed in 1967-68, this work is unique PROVENANCE Carla Panicali, Rome. Acquired from the above by the present owner in the 1970s. LITERATURE G. de Marchis & S. Pinto, Ettore Colla, Rome 1972, no. 221 (illustrated p. 105). EXHIBITION Rome, Galleria Nazionale d'Arte Moderna, Ettore Colla, June-August 1970, no. 69 (illustrated). This exhibition later travelled to Wuppertal, Von der Heydt Museum, October-November 1970. New York, Marlborough Gallery Inc., Ettore Colla, January-February 1973, no. 22 (illustrated). Bari, Castello Svevo, Ettore Colla, March-April 1976. Modena, Galleria Fonte d'Abisso, Ettore Colla 1896-1968, September-October 1980, no. 33 (illustrated). Parma, Teatro Farnese, Ettore Colla, September-October 1986, no. 66 (illustrated). NOTES The iconography of Giocoliere No.3 ("Juggler No. 3") appears for the first time in Colla's oeuvre in 1959 and its source is derived from the lottery wheel that juggles numbered balls for the Italian state lottery. In Giocoliere No.3 Colla has transformed this modern mechanical device into a giant iron armillary sphere that evokes the mechanical craftmanship and cartesian certainty of the middle ages. Looking like some giant contraption from a medieval dungeon, the banal source of this strongly geometric construction is entirely conscious. Much of Colla's work is based on the transforming of man-made found-objects into sculptures that bestow on these items the appearance of a historical artifact or sacred relic. His aesthetic is typically Italian in that his work constantly evokes a dialogue between the modernity of the present day and the cultural heritage of the past. In Giocoliere No.3 Colla has discovered in the banal mechanism used to juggle plastic balls for the lottery an archetypal geometric form that has formed the basic structure of numerous human objects and tools from sophisticated scientific instruments such as astrolabes and orreries to fisherman's lights, children's toys and juggling balls. In constructing this simple form in iron, Colla lends this familiar structure an unfamiliar sense of grandeur and nobility that is normally reserved for a precious and carefully preserved artifact from history. This transformation of a simple mechanical object that holds enormous importance for many of the poorest modern Italians, underscores the parallel that exists between the armillary spheres of the past and the modern day lottery. 16th and 17th century armillary spheres articulated an organised picture of the universe with either the Earth or the Sun at its centre, surrounded by the other known planets. They were physical manifestations of a worldview and of a system of thought. The sphere used for the lottery can be seen as a modern equivalent of these spheres where the planets/numbered balls circulate randomly within the outer framework of the universe but still play a key role in the life and imagination of many people. In transforming this symbol of the lottery into a monmuental sculpture in iron Colla has created a work that has all the appearance of being an impresseive relic from the Twentieth century.