Lucio FONTANA Piramide (red) - circa 1967 Métal laqué Signé et numéroté "2/50" à la pointe 11 x 13 x 13 cm Lacquered metal ; engraved signature and number 4,33 x 5,11 x 5,11 in. Bibliographie : H. Ruhé et C. Rigo, Graphics, multiples and more, n°M-6 Bon état général. Rayures superficielles. manque de peintures et un choc léger Lucio FONTANA Bon état général. Rayures superficielles. manque de peintures et un choc léger
Lucio FONTANA Piramide (green) - circa 1967 Métal laqué Signée et numérotée "9/50" à la pointe 11 x 13 x 13 cm Lacquered metal ; engraved signature and number 4,33 x 5,11 x 5,11 in. Bibliographie : H. Ruhé et C. Rigo, Graphics, multiples and more, n°M-6 Bon état général. Rayures superficielles. manque de peintures Lucio FONTANA Bon état général. Rayures superficielles. manque de peintures
LUCIO FONTANA (1899-1968) LUCIO FONTANA Nudi Femminili 1940 inchiostro nero su carta cm 32x22 firmato e datato in basso a destra provenienza: Galleria del Milione Milano; Collezione privata Nudi Femminili 1940 ink on paper 12 59x8 66 in signed and dated lower right provenance: Galleria del Milione Milan; Private collection bibliografia: Lucio Fontana. Catalogo ragionato delle opere su carta Tomo I a cura di Luca Massimo Barbero pag.375 N.40 DF 27; Il disegno italiano edizioni La Scaletta San Polo (RE) cat. n. 5/1985-86 p.46 n.113
LUCIO FONTANA (1899-1968) LUCIO FONTANA Studi per decorazione spaziale 1949 china su carta applicata su cartoncino cm 22x28 firma e data apocrife sul retro: timbro dello Studio Bellini Milano autentica su foto dell'Archivio della Fondazione Lucio Fontana N.4551/1 Studi per decorazione spaziale 1949 ink on paper on cardboard 8 66x11 02 in apocryphal signature and date on the reverse: stamp of Studio Bellini Milan photo certificate by Archivio della Fondazione Lucio Fontana n.4551/1
LUCIO FONTANA (1899-1968) LUCIO FONTANA Concetto spaziale 1952 china su carta (filigrana Fenicia) cm 28x22 firmato e datato in basso a destra autentica su foto dell'Archivio della Fondazione Lucio Fontana N.4551/2 Concetto spaziale 1952 ink on paper (Phoenician filigree) 11 02x8 66 in signed and dated lower right photo certificate by Archivio della Fondazione Lucio Fontana n.4551/2
Watercolor on paper Signed lower right Luca Massimo Barbero - Lucio Fontana, published in the Catalogue Raisonné of Works on paper Volume III. Skira Edition, illustrated with the number 60.64 DF 234 page 1082. Private collection, Romecm 70 x 50
With a signature 'LF', Lucio Fontana (1899-1968) was an Argentine-Italian painter, sculptor, and theorist. Renowned as the founder of Spatialism, he is recognized for his groundbreaking approach to abstract painting, particularly as the first artist to slash his canvases—an act that symbolizes a complete rejection of traditional artistic conventions. 9.3/4 in. diam.
Quattro fogli di cartone ritagliato incollati insieme per formare un rilievo Firma e tiratura sul retro Es. 32/75 Opera confermata e documentazione depositata presso la Fondazione Lucio Fontana, Milano.
Artist/Designer; Manufacturer: Lucio Fontana (Argentine-Italian, 1899-1968) Marking(s); notes: signed; AP; circa 1967 Materials: lacquered steel Dimensions (H, W, D): 4.75"h, 5.25"w, 5.25"d Additional Information: The "Piramide" sculptures were produced in an edition of 50 plus 20 artist's proofs, published by Sergio Tosi, Milan, Italy. Detail photos include a group shot depicting three "Piramides," all of the same provenance, offered individually as consecutive lots in this auction. Provenance: Artyfakt Gallery, Stockholm, Sweden | Private Collection, Middlefort, Denmark. Consignor recalls being told that Artyfakt Gallery acquired the "Piramide" sculptures from a collector in Italy who purchased them from Galleria Apollinaire, Milan, Italy. Lucio Fontana founded an art movement known as Spatialism / Spazialismo in Milan in 1947 in which he proposed to synthesize time and space, as well as color and movement.
Artist/Designer; Manufacturer: Lucio Fontana (Argentine-Italian, 1899-1968) Marking(s); notes: signed; AP; circa 1967 Materials: lacquered steel Dimensions (H, W, D): 4.75"h, 5.25"w, 5.25"d Additional Information: The "Piramide" sculptures were produced in an edition of 50 plus 20 artist's proofs, published by Sergio Tosi, Milan, Italy. Detail photos include a group shot depicting three "Piramides," all of the same provenance, offered individually as consecutive lots in this auction. Provenance: Artyfakt Gallery, Stockholm, Sweden | Private Collection, Middlefort, Denmark. Consignor recalls being told that Artyfakt Gallery acquired the "Piramide" sculptures from a collector in Italy who purchased them from Galleria Apollinaire, Milan, Italy. Lucio Fontana founded an art movement known as Spatialism / Spazialismo in Milan in 1947 in which he proposed to synthesize time and space, as well as color and movement.
Artist/Designer; Manufacturer: Lucio Fontana (Argentine-Italian, 1899-1968) Marking(s); notes: signed; AP; circa 1967 Materials: lacquered steel Dimensions (H, W, D): 4.75"h, 5.25"w, 5.25"d Additional Information: The "Piramide" sculptures were produced in an edition of 50 plus 20 artist's proofs, published by Sergio Tosi, Milan, Italy. Detail photos include a group shot depicting three "Piramides," all of the same provenance, offered individually as consecutive lots in this auction. Provenance: Artyfakt Gallery, Stockholm, Sweden | Private Collection, Middlefort, Denmark. Consignor recalls being told that Artyfakt Gallery acquired the "Piramide" sculptures from a collector in Italy who purchased them from Galleria Apollinaire, Milan, Italy. Lucio Fontana founded an art movement known as Spatialism / Spazialismo in Milan in 1947 in which he proposed to synthesize time and space, as well as color and movement.
Jubilation: A Private Collection Lucio Fontana 1899 - 1968 Maschera signed and dated 48 (on the base) glazed and painted terracotta 86 x 42 x 26 cm; 33 ⅞ x 16 ½ x 10 ¼ in. Executed in 1948. __________________________________________________________________________ Jubilation: une collection particulière Lucio Fontana 1899 - 1968 Maschera signé et daté 48 (sur la base) terre cuite émaillée et peinte 86 x 42 x 26 cm; 33 ⅞ x 16 ½ x 10 ¼ in. Exécuté en 1948.
Jubilation: A Private Collection Lucio Fontana 1899 - 1968 Maschera signed and dated 48 (on the base) glazed and painted terracotta 83 x 35 x 23 cm; 32 ⅝ x 13 ¾ x 9 in. Executed in 1948. __________________________________________________________________________ Jubilation: une collection particulière Lucio Fontana 1899 - 1968 Maschera signé et daté 48 (sur la base) terre cuite émaillée et peinte 83 x 35 x 23 cm; 32 ⅝ x 13 ¾ x 9 in. Exécuté en 1948.
Lucio Fontana (1899 Rosario de Santa Fe - 1968 Comabbio/Varese), 'Concetto Spaziale Cratere' gold, 1968, Porcelain, gold-plated. H. 6.5 x 38.5 x 29.0 cm. Inscribed on the reverse: 20K (incised) and signed on a plaque from the 'ars porcellana, rosenthal relief series': L. Fontana and numbered: 2/75 (black permanent marker). Copy 2 of 75 copies. Published by Rosenthal, Selb 1968., Cat. raisonné Ruhé/Rigo, C-2, p. 144.
Lucio Fontana (1899 Rosario de Santa Fe - 1968 Comabbio/Varese), 'Concetto Spaziale Cratere' silver color experiment , 1968, Porcelain, silver-mounted. H. 6.2 x 38.8 x 28.0 cm. Inscribed on the reverse: 20K (incised), the Fondazione Lucio Fontana, Milan does not issue a certificate for this object as it is a color test outside the edition. According to the owner, the ceramic was reviewed by Fontana himself and was not included in the edition.,
Lucio Fontana (1899 Rosario de Santa Fe - 1968 Comabbio/Varese), 'Concetto Spaziale Cratere' black color experiment, 1968, Porcelain, matt black glaze. H. 6.2 x 38.5 x 28.5 cm. Inscribed on the reverse: IIK (incised), the Fondazione Lucio Fontana, Milan does not issue a certificate for this object as it is a color test outside the edition. According to the owner, the ceramic was reviewed by Fontana himself and was not included in the edition.,
Terracotta smaltata, dipinta: bianco, nero, giallo, rosa e verde, Diametro cm. 50,5. Sul recto, in basso a destra firma "L. Fontana"; Opera registrata presso la Fondazione Fontana con il n. 4399/3. Provenienza: Collezione privata, Torino. Collezione privata, Rivoli. Bibliografia: 2022, Luca Massimo Barbero, "Lucio Fontana. Catalogo ragionata delle sculture ceramiche", n.50 FPC 19, Tomo I, Skira, Milano, pag. 192.
Untitled. Study for four teatrini and globe sculpture. Indian ink. Signed in ink. On verso entry number of the Fondazione '4030/A10'. Frame. Description FR Sans titre (Étude pour quatre teatrini et une sculpture sphérique). Plume d'encre de Chine. Signé à l'encre. Au verso, inscription du numéro de la Fondazione '4030/A10'. Cadre. Beschrijving NL Zonder titel. Studie voor vier teatrini en bolsculptuur. Pen in Oost-Indische inkt. Gesigneerd in inkt. Op verso invoernummer van de Fondazione '4030/A10'. Kader.
Lucio Fontana (1899-1968) & Osvaldo Borsani (1911-1985) Console Marble, lacquered and gilded wood Edited by Arredamenti Borsani, Varedo Model created circa 1950 H 97 × L 208 × W 49 cm Expertise conducted by the Osvaldo Borsani Archives Provenance: – Casa M., Milan – European private collection Bibliography: – I. De Guttry – M.P. Maino, Il mobile italiano degli anni 40 e 50, Roma 2010, similar model illustrated p. 112, n.14 – G. Bosoni, Tecno. L'eleganza discreta della tecnica, Milano 2011, similar model illustrated p. 24 – G. Bosoni, Osvaldo Borsani. Architetto, designer, imprenditore, Milano 2018, similar model illustrated pp. 360-361, p. 566 n.1950.7234 – G. Gramigna and F. Irace, Osvaldo Borsani, Rome, 1992, similar model illustrated pp. 194-95 – T. Fantoni, N. Foster, and G. Bosoni, Osvaldo Borsani, exh. cat., Milan, 2018, similar model illustrated pp. 75, 94 Conceived as part of the collaboration between Lucio Fontana and Osvaldo Borsani, the ribbon and cherub decoration is realised in several variants from original sketches drawn by Lucio Fontana Lucio Fontana (1899-1968) & Osvaldo Borsani (1911-1985) Console Marbre, bois laqué et doré Édition Arredamenti Borsani, Varedo Modèle créé vers 1950 H 97 × L 208 × P 49 cm Expertisée par les Archives Osvaldo Borsani Provenance : – Casa M., Milan – Collection privée européenne Bibliographie : – I. De Guttry – M.P. Maino, Il mobile italiano degli anni 40 e 50, Roma 2010, modèle similaire reproduit p.112, n.14 – G. Bosoni, Tecno. L'eleganza discreta della tecnica, Milano 2011, modèle similaire reproduit p. 24 – G. Bosoni, Osvaldo Borsani. Architetto, designer, imprenditore, Milano 2018, modèle similaire reproduit pp. 360-361, p. 566 n.1950.7234 – G. Gramigna and F. Irace, Osvaldo Borsani, Rome, 1992, modèle similaire reproduit pp.194-95 – T. Fantoni, N. Foster, and G. Bosoni, Osvaldo Borsani, exh. cat., Milan, 2018, modèle similaire reproduit pp.75, 94 Conçue dans le cadre de la collaboration entre Lucio Fontana et Osvaldo Borsani, la décor du ruban et du putti ont été réalisés en plusieurs variantes à partir des croquis originaux de Lucio Fontana.
1 catalogo in-4° carré (mm 300x300) profusamente illustrato con le celebri fotografie di Ugo Mulas (minimi difetti) e 1 splendido multiplo fucsia in pvc di Lucio Fontana (mm 295x295x20), senza firma né numerazione, con leggere macchioline e un forellino probabilmente da esposizione nella parte posteriore, ma complessivamente in buone condizioni. Il tutto entro custodia originale in cartone, con titoli in nero al piatto. Tracce d'uso. (1)
In-8° (mm 210x174). Con 8 pagine fustellate con tagli e buchi su indicazione di Lucio Fontana. Rarissime e lievi fioriture, altrimenti ottima copia in brossura originale con il celebre Concetto spaziale dell'Artista al piatto anteriore. Francobollo con un altro Concetto spaziale di Fontana applicato al recto della prima carta bianca. Uno dei 900 esemplari dell'edizione ordinaria, su una tiratura complessiva di 1000 copie numerate. (1)
CONCETTI SPAZIALI (RAUMKONZEPTE) Tinte auf Papier. 32,3 x 25,4 cm. Datiert „1958“. Unter Passepartout, hinter Glas in dekorativem Rahmen. Beglaubigt durch Galleria la Scaletta Fontana-Archiv 162/254 sowie veröffentlicht in „Il disegno italiano n. 26“. Reproduktion unter Nr. 82, in Kopie vorliegend. (1410683) (18)
Lucio Fontana Concetto spaziale 1964-65 holes, tears and graffiti on white blotting paper 23.125 h x 18.125 w in (59 x 46 cm) Signed to lower right 'L. Fontana'. This work is registered in the Archivio Lucio Fontana, Milan, under no. 260/15. Provenance: J. Bruxelles | Dickinson Roundell Inc., London | Acquired from the previous in 2000, Collection of Robert and Lisa Kessler Literature: Lucio Fontana, Catalogo ragionato delle opere su carta, Tomo III, Barbero, pg. 900, no. 64-65 DSP 127 This work will ship from Lambertville, New Jersey.
LUCIO FONTANA (1899-1968) Nudo Rosa, 1967 Aquatinte, eau-forte et embossage. Signée et numérotée 134/170. Timbre sec 2RC, Roma Aquatint, ets en reliëf. Getekend en genummerd 134/170. 2RC droogstempel, Roma Aquatint, etching and embossing. Signed and numbered 134/170. 2RC dry stamp, Roma 62.5 x 47.5 cm (visible sheet) Framed
LUCIO FONTANA (Argentinean/Italian 1899-1968) A Wall Hanging, "Concetto Spaziale," 1959, aluminum foil and mixed media, signed and dated L/R, "Fontana 59;" 4 3/4" x 3 3/4", framed 10 1/2" x 8 1/2".
Lucio Fontana (Rosario de Santa Fé 1899 - 1968 Comabbio) Concetto spaziale Attesa Dispersionsfarbe auf Leinwand / Emulsion paint on canvas 1960 33x24 cm / 33x24 cm Signatur / Signature Auf der Rückseite vom Künstler in Rot signiert, betitelt und bezeichnet "l. fontana / c. spaziale "ATTESA" / 1+1 - 3741S" Signed, titled and inscribed by the artist in red on the reverse "l. fontana / c. spaziale "ATTESA" / 1+1 - 3741S" Werkverzeichnis / Catalogue Raisonné Echtheitszertifikat (Nr. 4488/1) der Fondazione Lucio Fontana, Mailand, liegt vor Certificate of authenticity (no. 4488/1) from the Fondazione Lucio Fontana, Milan, is available in copy Provenienz / Provenance McRoberts &Tunnard Gallery, London, dort 1961 erworben von Privatsammlung Schweiz McRoberts &Tunnard Gallery, London, acquired there in 1961 by Private collection Switzerland Zustand / Condition Stellenweise mit minimen Abreibungen. In schöner, farbfrischer Erhaltung With minimal abrasions in places. In very good condition and fresh in colour Erläuterungen / Comments Mit seinem 1946 publizierten "Manifesto bianco" und den 1947 publizierten Manifesten des "Spazialismo" forderte Fontana die Abkehr von herkömmlichen Materialien in der Kunst. Die Kunst sollte nicht mehr statisch sein, sondern dynamisch werden. Waren es zunächst mit Löchern perforierte Bildträger, die sein neu definiertes, räumliches Kunstkonzept ausmachten, kam ab 1958 mit den "Tagli", den Schnitten in geometrisch bemalte, später rein monochrome Leinwände, eine neue Dimension hinzu. Dabei schnitt der Künstler von vorne oder hinten durch die bemalten/grundierten Leinwände. Viele Werke weisen einen Schnitt auf, manche über zehn. Die mit Gaze hinterlegten Schnitte zerstören den Bildträger – und damit die "Grundlage" der traditionellen Malerei an sich, sie "verletzen" das Kunstwerk, machen es damit aber gleichzeitig räumlich-dynamisch. Die Leinwände sind meist monochrom bemalt, was den "Eingriff" noch verstärkt. Zusammen mit der hinterlegten, schwarzen Gaze ergibt sich eine Tiefenwirkung, die sich beim Betrachten dauernd verändert. Das hier angebotene Werk ist sehr früh entstanden und zeichnet sich durch einen Schnitt in eine rot bemalte Leinwand aus. Die Bewegung des "Taglio" wirkt ausgewogen und komponiert. "Concetto Spaziale" ist in der Komposition, dem originalen Erhaltungszustand und der frischen Farbigkeit sicherlich eine der attraktivsten Arbeiten mit einem Einschnitt und wurde bereits 1961 vom heutigen Besitzer erworben. With his "Manifesto bianco" published in 1946 and the manifestos of "Spazialismo" published in 1947, Fontana called for a departure from conventional materials in art. Art should no longer be static, but dynamic. While his newly defined spatial concept of art was initially characterised by perforated canvases, a new dimension was added in 1958 with the "tagli", cuts in geometrically painted, later purely monochrome canvases. The artist cut through the painted/primed canvases from the front or back. Many works have one cut, some have more than ten. The cuts, backed with gauze, destroy the picture support - and thus the "basis" of traditional painting itself; they "violate" the artwork, but at the same time make it spatially dynamic. The canvases are mostly painted in monochrome, which further emphasises the "intervention". Together with the black gauze backing, this creates an effect of depth that constantly changes as you look at it. The work offered here was created very early and is characterised by an incision in a red painted canvas. The movement of the "taglio" appears balanced and composed. In terms of its composition, original state of preservation and fresh colours, "Concetto Spaziale" is certainly one of the most attractive works with an incision and was acquired by the current owner as early as 1961. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 15:35 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Lucio Fontana (Rosario de Santa Fé 1899 - 1968 Comabbio) La Mujer Herida Gips, farbig gefasst / Plaster, coloured 1944 145x62x48 cm / 145x62x48 cm Signatur / Signature Auf der Basis signiert "Fontana" Signed "Fontana" on the base Werkverzeichnis / Catalogue Raisonné Enrico Crispolti, Fontana, catalogo generale, Band I, Mailand 2015, Nr. 44SC 1 Enrico Crispolti, Fontana, catalogo generale, vol. I, Milan 2015, no. 44SC 1 Provenienz / Provenance Slg. Juan Zocchi, Buenos Aires Slg. Wilma de Rabuffetti, Buenos Aires Privatsammlung Argentinien/Schweiz, dort erworben von Schweizer Privatsammlung Collection Juan Zocchi, Buenos Aires Wilma de Rabuffetti Collection, Buenos Aires Private collection Argentina/Switzerland, acquired there from Private collection Switzerland Literatur / Literature La Prensa, Sección tercera, Buenos Aires 1. Oktober 1944, Abb. Juan Zocchi, Lucio Fontana, Buenos Aires 1946, Nr. 48 Enrico Crispolti, Lucio Fontana, Catalogue raisonné des peintures, sculptures et environnements spatiaux, Band II, Brüssel 1974, S. 20 f. Ethel Martinez Sobrado, Fontana, Buenos Aires 1981, Abb. Tf. VI Enrico Crispolti, Fontana, catalogo generale, Band I, Mailand 1986, S. 83, Nr. 44SC 1 Paris 1987/1988, Musée National d'Art Moderne, Centre Georges Pompidou, Lucio Fontana, S. 367 La Prensa, Sección tercera, Buenos Aires 1 October 1944, ill.. Juan Zocchi, Lucio Fontana, Buenos Aires 1946, no. 48 Enrico Crispolti, Lucio Fontana, Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels 1974, p. 20 f. Ethel Martinez Sobrado, Fontana, Buenos Aires 1981, ill.. tf. VI Enrico Crispolti, Fontana, catalogo generale, vol. I, Milan 1986, p. 83, no. 44SC 1 Paris 1987/1988, Musée National d'Art Moderne, Centre Georges Pompidou, Lucio Fontana, p. 367 Ausstellungen / Exhibitions Buenos Aires, 1944, XXXIV Salón nacional de bellas artes Buenos Aires 1945, Kat. Nr. 1 Buenos Aires 1950, Kat. Nr. 13 Rom 1998, Palazzo delle Esposizioni, Lucio Fontana, S. 126 Buenos Aires, 1944, XXXIV Salón nacional de bellas artes Buenos Aires 1945, cat. no. 1 Buenos Aires 1950, cat. no. 13 Rome 1998, Palazzo delle Esposizioni, Lucio Fontana, p. 126 Zustand / Condition Mit Gebrauchsspuren, in sehr schöner Gesamterhaltung. Die Figur wurde 2020 komplett gereinigt und zum Teil neu patiniert With traces of use, in very nice overall condition. The figure was cleaned and partially repatinated in 2020 Erläuterungen / Comments Lucio Fontana wurde 1899 in Rosario in Argentinien geboren. Im Jahr 1905 zog die Familie mit italienischen Wurzeln nach Italien, wo Fontana in Mailand Ingenieurwissenschaften studierte. Zurück in Rosario fand er im Bildhaueratelier seines Vaters "Fontana y Scarabelli", den Weg zu eigenen Arbeiten. Schliesslich begann er 1927 ein Kunststudium an der Accademia di Brera in Mailand. Bereits in den 1930er-Jahren folgten erste Ausstellungen, 1934 schloss er sich der internationalen Künstlergruppe Abstraction-Création an. Von 1940 bis 1947 lebte Fontana wieder in Argentinien, wo er zunächst als Professor für Skulptur an der Escuela de Artes Plasticas in Rosario, danach als Professor für Dekoration an der Escuela Nacional de Bellas Artes Prilidiano Pueyrredon in Buenos Aires und als Professor für Skulptur an der Escuela de Bellas Artes Manuel Belgrano in Buenos Aires tätig war. Im Jahr 1946 gehörte er zu den Gründern und Lehrern der Altamira Escuela Libre de Artes Plàsticas in Buenos Aires, die zu einem wichtigen kulturellen Zentrum wurde. An dieser Kunstschule veröffentlichte Fontana im Jahr 1946 mit einer Gruppe seiner Studierenden das legendäre "Manifiesto Blanco" (weisses Manifest), das von grundlegender Bedeutung für die Kunst werden sollte. Ab März 1947 verlagerte der Künstler seinen Lebens- und Arbeitsmittelpunkt endgültig nach Italien. "La Mujer Herida" stellt ein wichtiges Werk am Übergang zum Spatialismus dar, mit dem sich Fontana in der Folge beschäftigen wird. Man spürt seine Meisterschaft und die Auseinandersetzung mit Bildwerken im barocken Stil. "Barock war ein Sprung nach vorn" sollte kurz darauf im "Manifesto Blanco" stehen, denn die dargestellten Barockfiguren scheinen die Oberflächen zu verlassen, um die Bewegungen im Raum fortzusetzen. Fontana sah also in der barocken Skulptur eine Befreiung der Formen, eine Ausdehnung des strengen klassischen Ideals. Seine expressiven Figuren aus dieser Zeit waren eine radikal neue, ungeschönte Darstellung seiner Modelle. Es sind ausdrucksstarke Momentaufnahmen, denen man sich nicht entziehen kann. "Die verletzte Frau", so die Übersetzung des spanischen Titels, zeigt schonungslos den Schmerz, das Ausharren, das Abwarten – auch die Angst vor dem, was kommen mag. Der Stoff, mit dem sie ihre Wunde schützt, nimmt die Tücher der alten Skulpturen auf, mit denen die Scham verdeckt wurde. Das Werk fand schon kurz nach seiner Entstehung enorme Beachtung und gewann im Jahr 1944 den ersten Preis im "XXXIV Salón de Bellas Artes" in Buenos Aires. Fontana verstand es, mit seinen Figuren die Zeit einzufrieren und die Betrachtenden zu einem Teil des Ganzen werden zu lassen. Vielleicht war es diese Direktheit und Unmittelbarkeit am Subjekt, die ihn wenig später dazu brachte, das Gegenständliche für immer zu verlassen, um mit seinen ikonischen Gemälden und Objekten noch einmal neu Kunstgeschichte zu schreiben. "La Mujer Herida" ist eine der sehr seltenen frühen Arbeiten des grossen Meisters, die sich noch in Privatbesitz befindet. Es existieren einige nicht autorisierte Bronzegüsse der Arbeit. Lucio Fontana was born in Rosario, Argentina, in 1899. In 1905, the family with Italian roots moved to Italy, where Fontana studied engineering in Milan. Back in Rosario, he found his way to his own work in his father's sculpture studio "Fontana y Scarabelli". In 1927, he began to study art at the Accademia di Brera in Milan. His first exhibitions followed in the 1930s, and in 1934 he joined the international artist group "Abstraction-Création". From 1940 to 1947, Fontana lived again in Argentina, where he worked first as a professor of sculpture at the Escuela de Artes Plasticas in Rosario, then as a professor of decoration at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredon in Buenos Aires and as a professor of sculpture at the Escuela de Bellas Artes Manuel Belgrano in Buenos Aires. In 1946, he was one of the founders and teachers of the Altamira Escuela Libre de Artes Plàsticas in Buenos Aires, which became an important cultural centre. It was at this art school that, in 1946, Fontana and a group of his students published the legendary "Manifiesto Blanco" (White Manifesto), which was to have a fundamental impact on art. From March 1947, the artist moved the centre of his life and work permanently to Italy. "La Mujer Herida" represents an important work at the transition to Spatialism, which Fontana would subsequently focus on. One can sense his mastery and his exploration of Baroque-style imagery. "Baroque was a leap forward" was to be written shortly afterwards in the "Manifesto Blanco", as the Baroque figures depicted seem to leave the surfaces to continue their movements in space. Fontana thus saw in Baroque sculpture a liberation of forms, an expansion of the strict classical ideal. His expressive figures from this period were a radically new, unadorned representation of his models. They are expressive snapshots that are impossible to resist. "The wounded woman", as the Spanish title translates, relentlessly shows the pain, the perseverance, the waiting and the fear of what may come. The fabric with which she protects her wound echoes the cloths used in the old sculptures to cover the person's shame. The work attracted enormous attention shortly after its creation and won first prize at the "XXXIV Salón de Bellas Artes" in Buenos Aires in 1944. Fontana knew how to freeze time with his figures and make the viewer a part of the whole. Perhaps it was this directness and immediacy towards the subject that led him to abandon the figurative for good a little later in order to write art history once again with his iconic paintings and objects. "La Mujer Herida" is one of the very rare early works by the great master that is still in private ownership. There are several unauthorised bronze casts of the work. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 15:35 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Auf Anfrage / On request
Lucio Fontana, "Concetto spaziale" langgestreckte ovale Form in Grün mit Löcherlinie, typische Arbeit aus dem Spätwerk des Künstlers, Siebdruck und Stanzung auf leichtem Karton, um 1968, im unteren Bereich in Kugelschreiber links signiert "L. Fontana" und links bezeichnet "a Roma con tanti baci", auf Rahmenrückseite bezeichnet "Lucio Fontana Concetto speziale Siebdruck - grün", etwas wellig und leichte Knitterspuren, teils an der Scheibe anliegend, hinter Glas gerahmt, Blattmaße ca. 71 x 34,5 cm. Künstlerinfo: ital. Künstler (1899 Rosario/Argentinien bis 1968 Comabbio bei Varese), 1905 mit seinen Eltern Umsiedlung nach Mailand, 1914-15 Studium an der Baugewerbeschule in Mailand, 1922-28 lebte der Künstler in Argentinien, ab 1928 Studium an der Accademia di Brera in Mailand bei Adolfo Wildt, 1930 erste Ausstellung in Mailand und Teilnahme an der 17. Biennale in Venedig, ab 1934 Mitglied der Künstlergruppe „Abstraction-Création“, ab 1935 erste Keramikarbeiten und ab 1936 tätig für die Manufaktur Sèvres, lebte ab 1939 für einige Jahre wieder in Argentinien, 1947 Rückkehr nach Mailand, 1946 Initiierung des „Manifesto bianco“, 1958 Entstehung der ersten Arbeiten mit Schnitten in der Leinwand, mehrfache Teilnahme an der documenta in Kassel, Quelle: Vollmer und Wikipedia. Lucio Fontana, "Concetto spaziale" elongated oval shape in green with perforated line, typical work from the artist's late work, screenprint and punching on light cardboard, around 1968, signed in biros on the lower left "L. Fontana" and inscribed "a Roma con tanti baci" on the left, inscribed "Lucio Fontana Concetto speziale Siebdruck - grün" on the reverse of the frame, somewhat wavy and slight signs of creasing, partially resting against the pane, framed behind glass, sheet dimensions approx. 71 x 34.5 cm. Artist info: ital. Artist (1899 Rosario/Argentina until 1968 Comabbio near Varese), 1905 moved to Milan with his parents, 1914-15 studied at the building trade school in Milan, 1922-28 the artist lived in Argentina, from 1928 studied at the Accademia di Brera in Milan under Adolfo Wildt, 1930 first exhibition in Milan and participation in the 17th Venice Biennale. From 1934 member of the artist group "Abstraction-Création", from 1935 first ceramic works and from 1936 worked for the Sèvres manufactory, from 1939 lived in Argentina again for several years, 1947 return to Milan, 1946 initiation of the "Manifesto bianco", 1958 creation of the first works with cuts in the canvas, multiple participation in the documenta in Kassel, source: Vollmer and Wikipedia.
After & Attributed to Lucio Fontana, Italian/Argentinian (1899-1968) Metal Relief "Concetto spaziale". Signed Lower Right & Paper Label on The Back. We Do Not Guarantee the Authenticity of This Item. Condition: Generally Good. Dimensions: 5.8" x 5.5". Provenance: From a Private Collector. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
After & Attributed to Lucio Fontana, Italian/Argentinian (1899-1968) Metal Relief "Concetto spaziale". Signed Lower Right & Paper Label on The Back. We Do Not Guarantee the Authenticity of This Item. Condition: Generally Good. Dimensions: 13.5" x 8.2". Provenance: From a Private Collector. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
After & Attributed to Lucio Fontana, Italian/Argentinian (1899-1968) Metal Relief "Concetto spaziale". Signed Lower Right & Paper Label on The Back. We Do Not Guarantee the Authenticity of This Item. Condition: Generally Good. Dimensions: 15.75" x 13". Provenance: From a Private Collector. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
Lucio Fontana Concetto spaziale 1959 lithograph in colors 12.375 h x 9.625 w in (31 x 24 cm) This work is from the edition of 1500 published by San Lazzaro, Paris. This work will ship from Lambertville, New Jersey.
Sculpture in bronze signed Lucio FONTANA [1899-1968] "Picollo" Milano 1964 dim. 24 x 24 cm. with frame 33.5 x 33.5 cm. Origin: Institute of Fine Arts-London
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