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
Lucio Fontana 1899 - 1968 Concetto Spaziale signed (lower right) tempera, ink and graphite on paper laid on card 50.5 by 71.2 cm. 19⅞ by 28 in. framed: 76.1 by 96.3 cm. 29⅞ by 37⅜ in. Executed in 1965-68. This work is registered in the Fondazione Lucio Fontana, Milan under the number 423/18.
LUCIO FONTANA (1899 - 1968) Venice / New York 2006 Monographic illustrated catalogue published on the occasion of the exhibition held at Peggy Guggenheim Collection, Venice (June 4th - September 24th, 2006) and at the Solomon R. Guggenheim Museum, New York (October 10th, 2006 - January 21st, 2007) 27,5 x 22,5 cm Guggenheim Museum New York edition Pages 230 No defects
LUCIO FONTANA (1899 - 1968) Lucio Fontana: Centre Georges Pompidou, Musée national d'art moderne 1987 Illustrated catalogue published on the occasion of the exhibition held at Centre Georges Pompidou, Paris (October 13th, 1987 - January 11th, 1988) 28 x 28 cm Edition of the museum Pages 415 No defects
LUCIO FONTANA (1899 - 1968) Segni nello spazio 2007 Illustrated monografic catalogue published on the occasion of the exhibition held at Galleria Il Castello, Milan (March - April 2007) 26,5 x 20,5 cm Edition of the gallery Pages 72 Defects
LUCIO FONTANA (1899 - 1968) Fontana / disegni 1977 Illustrated monografic catalogue published on the occasion of the exhibition held at Castello Sforzesco, Milan (May 19th - July 31st 1977) 24,5 x 22,5 cm Electa Editrice Pages 96 Defects
LUCIO FONTANA (1899 - 1968) Lucio Fontana. Ambienti spaziali 2012 Illustrated monografic catalogue published on the occasion of the exhibition held at Gagosian Gallery, New York (May 3rd - June 30th 2012) 28,5 x 25 cm Skira edition Pages 405 Defects
LUCIO FONTANA (1899 - 1968) Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni (tomo I e II) 2006 Illustrated monografic catalogue, inside a box 29,5 x 21,5 x 11,5 cm Skira edition Pages 1120 Defects
LUCIO FONTANA (1899 - 1968) L'artista e la modella 1990 Illustrated monografic catalogue, ed. 522/1000 32 x 23 cm Paolo Negrato edition Pages 45 Defects
LUCIO FONTANA (1899 - 1968) Fontana. Donazione al museo d'arte contemporanea di Milano 1978 Illustrated monografic catalogue published in the occasion of the exhibition held at Palazzo reale, Milan (November 28th 1978 - November 31st 1979) 24 x 17 cm Multhipla Edizioni Pages 122 Defects
FONTANA LUCIO (1899 - 1968). LUCIO FONTANA - DIECI DIPINTI DI VENEZIA, MARTHA JACKSON GALLERY, 1961. catalogue, of Lucio Fontana's first solo exhibition in America, with die-cut cover, 5 color plates and 5 black and white illustrations of works exhibited at Palazzo Grassi, Venice from July to September and subsequently at the Martha Jackson Gallery in New York from 21 November to December 16, 1961. publisher: Martha Jackson Gallery printer: Industrie Grafiche Fratelli Pozzo - Turin. 21,00 x 27,00 cm.
FONTANA LUCIO (1899 - 1968). LA POLENA (CATALOGO MOSTRA), 1964. catalog published on the occasion of the exhibition held at the Galleria d'Arte Moderna La Polena, Genoa, from 04/05/1964 to 27/05/1964 publisher: Galleria La Polena, Genoa The catalog is characterized by the presence of black cardboard applied to the inside with a die-cut. 12,00 x 16,00 cm.
FONTANA LUCIO (1899 - 1968). DEVENIR DE FONTANA #4, 1961. catalog edited by Michel Tapié, published for the 'International center of aesthetic research' collection directed by Ezio Gribaudo Fratelli Pozzo Art Editions, Turin inside the volume: two cut gold foils, applied on black cardboard and dated 1961, respectively measuring: 15 x 23 cm and 23 x 15 cm. 28,00 x 29,50 cm.
FONTANA LUCIO (1899 - 1968). FONTANA - LOUISIANA, 1967. Original vintage poster by Fontana for the exhibition in Louisiana, 1967. printer: Fritze E.. 62,00 x 84,00 cm.
FONTANA LUCIO (1899 - 1968). CONCETTO SPAZIALE.. signature and edition in pencil, ex. 38/60 plate size: 37.8x25.8 cm TOTAL EDITION 60 signed and numbered copies BIBLIOGRAPHY Harry Ruhé, Camillo Rigo, Lucio Fontana: Graphics, Multiples and More..., Amsterdam 2006, p. 74, no. E-51 (Ill. other ex.). 49,00 x 68,00 cm.
FONTANA LUCIO (1899 - 1968). NUDO AZZURRO, 1967. signature and edition in pencil e.g. 57/170 2RC embossed stamp on the back: "RGm1435" writing Printer: 2RC TOTAL EDITION 170 specimens + 15 ap the work is accompanied by a certificate of origin Giò Marconi, Milan BIBLIOGRAPHY H. Ruhé and C. Rigo, Lucio Fontana graphics, multiples and more.. Tuja Book 2006, p. 59 table E-36. PROVENANCE Giò Marconi Gallery, Milan Private collection, Padua. 47,00 x 61,50 cm.
FONTANA LUCIO (1899 - 1968). sheet from the folder L'Albero poet - Guido Ballo, containing 10 engravings by Enrico Baj, Pietro Cascella, Alik Cavaliere, Roberto Crippa, Lucio Fontana, Gastone Novelli, Achille Perilli, Arnaldo Pomodoro, Giò Pomodoro and Fraancesco Somaini. signature in pencil, ex. 55/100 (number indicated on the portfolio colophon) publisher: Galleria Schwarz, Milan printer of the volume: Arti Grafiche R. Olivieri, Milan graphic printer: Giorgio Upiglio, Milan TOTAL EDITION 100 + XXV copies BIBLIOGRAPHY H. Ruhé and C. Rigo, Lucio Fontana graphics, multiples and more..., tab. E32 p.55 PROVENANCE FBArte, Ferrara Private collection, Pavia.
LUCIO FONTANA (1899 - 1968) Concetto Spaziale, 1966 - 1968 Griffures et incisions sur papier, signature griffée en bas à droite 47 x 60 cm - 18 1/2 x 23 5/8 in. Scratches and incisions on paper, scratched signature lower right Un certificat d'authenticité de l'Atelier Lucio Fontana, en date du 10 octobre 1969, sera remis à l'acquéreur. PROVENANCE Collection Anne Lejemtel, Paris Collection privée, Belgique BIBLIOGRAPHIE L. M. Barbero, Lucio Fontana : Catalogue Raisonné of the works on paper, 2013, Skira, vol. III, p. 973, r., l'oeuvre est répertoriée sous le code 66-68 DSP 106
es. III/XV su un a tiratura di 80 esemplari + XV prove d'artista firmato in basso a destra, numerato in basso a sinistra Edizioni Galleria Marlborough, Roma e stampatore 2RC, Roma
Coffee table with hand-decorated top with pictorial composition by Lucio Fontana. Arredamenti Borsani, Varedo, 1953-55. Solid wood, glass, mixed media on white, yellow and grey glass. Painterly composition bearing the autographed signature of Lucio Fontana. (99x40x101 cm.) Provenance Private collection, Milan Artwork accompanied by certificate of authenticity on photograph issued by Lucio Fontana Foundation, Milan, under n. 4529/2 Literature per esemplari con decoro simile: E. Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, Tomo II, Skira, Milano 2006, pp. 911-921; G. Bosoni, Osvaldo Borsani architetto, designer, imprenditore, Skira, Milano 2018, pp. 376-377 IT Tavolino a tre gambe con piano triangolare a spigoli stondati, decorato a mano con composizione pittorica di Lucio Fontana. Arredamenti Borsani, Varedo, 1953-55. Legno massello, vetro, tecnica mista su vetro, bianco, giallo e grigio. Composizione pittorica recante firma autografa di Lucio Fontana. (cm 99x40x101) Provenienza Collezione privata, Milano Opera accompagnata da certificato di autenticità su fotografia rilasciato dalla Fondazione Lucio Fontana, Milano, con il n. 4529/2 Bibliografia per esemplari con decoro simile: E. Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, Tomo II, Skira, Milano 2006, pp. 911-921; G. Bosoni, Osvaldo Borsani architetto, designer, imprenditore, Skira, Milano 2018, pp. 376-377
book cm 48 x 33 (case measure) Inside original case LITERATURE H. Ruhé- C. Rigo (a cura di), Lucio Fontana, incisioni, grafica, multipli, pubblicazioni…, Reverdito Edizioni, Trento 2007, pag. 186.
etching, embossing and punched holes on Fabriano paper, ed. IV/XV cm 48 x 64 around (paper measures) Signed in pencil lower right Blind stamp lower left of the printer 2RC, Rome Edition of 80 copies + XV Artist proof From a portfolio of 06 prints Galleria Marlborough Editions, Rome 1968 LITERATURE cfr., H. Ruhé-C. Rigo, Lucio Fontana. Graphics, multiples and more..., Tuja Books Editions, Amsterdam 2006, p. 62, n. E-39; cfr., A.B. Oliva (curated by), Doppio sogno dell'arte. 2RC-tra artista e artefice. Opere grafiche 1962-2007, exhibition catalog (Milan, Fondazione Arnaldo Pomodoro), Fondazione Arnaldo Pomodoro, Milan 2007, p. 162, n. 041.
a) Fontana + Vigo Exhibition catalogue La Polena gallery, Milan, 1968 b) Lucio Fontana Dessins exhibition catalogue Galerie Benador, Geneva 1969 c) Lucio Fontana Concetti spaziali, exhibition catalogue Galerie Bonnier, Geneva 1970 d) Lucio Fontana Exhibition catalogue Museo de Arte Contemporaneo de Caracas, 1974 e) Lucio Fontana Cubo di luce, exhibition catalogue of Milena Ugolini, Rome 1991 f) Lucio Fontana Attese - Concetti spaziali Invitation to the exhibition at Il Bilico gallery, Rome 1967 g) Lucio Fontana Invitation to the exhibition at Arte Borgogna gallery, Milan 1968 h) Lucio Fontana Invitation to the Galeris Schmela exhibition, Düsseldorf 1968 i) Copy of the magazine Vernissage March 1960
screenprint on sheet folded in half 48.4 x 31.4 cm (48.4 x 62.8 cm open size), (unframed) The edition accompanies a poem by Gianni Malabarba, "Poemetto per Fontana" LITERATURE H. Ruhè, C. Rigo, Lucio Fontana, incisioni, grafica, multipli, pubblicazioni... ed. Reverdito, Trento, 2007 p. 131 n. S-15
Lucio Fontana 1899 - 1968 Concetto Spaziale incised with the artist's signature (lower right) holes on Fabriano paper 65.7 by 46.5 cm. 25⅞ by 18¼ in. framed: 86.3 by 64.7 cm. 34 by 25½ in. Executed circa 1965-66. This work is registered in the Fondazione Lucio Fontana, Milan under the number 2185/1.
Lucio Fontana 1899 - 1968 Concetto spaziale, attese signed, titled and inscribed Oggi vado a pranzo col premio Nobel e amico Quasimodo (on the reverse) waterpaint on canvas 100.5 by 81 cm. 39⅝ by 31⅞ in. Executed in 1966.
Lucio Fontana 1899 - 1968 Concetto spaziale signed, inscribed Milano 28-6-1953 and dedicated all'amico Sinisgalli (on the reverse) oil on canvas 39.9 by 49.6 cm. 15¾ by 19½ in. Executed in 1951.
FONTANA LUCIO (1899 - 1968). CONCETTO SPAZIALE, 1957. signature and date at the back: stamp Galleria d'Arte il Prisma, Milan The work is registered at the Lucio Fontana Foundation with the no. 3319/1 PROVENANCE Private collection, Gallarate Il Prisma art gallery, Milan Private collection, Milan EXHIBITIONS Galleria del Cavallino, Venice 1957 Galleria del Naviglio, Milan 1957 BIBLIOGRAPHY L'Europeo, XVIII, n. 27, 8 July 1962. p. 33, Gottschaller, 2008, p. 39 L'Europeo, XII, n. 7, July 2013, p. 59 L. M. Barbero, Lucio Fontana. Catalog raisonné of ceramic sculptures, Milan 2022, vol. I, p. 106 and vol. II, p. 483, n. 57 SPC 55 From the three-dimensional exploration of ceramic sculptures to his famous cuts, Lucio Fontana intellectually investigates the continuous alternation between full and empty, finite and infinite, light and darkness, matter and space. The cycle of holes, which was inaugurated in 1949 as a natural evolution of the research proposed two years earlier with the First Manifesto of Spatialism, became the maximum expression of Fontana's baroqueism precisely in the encounter with the expressive potential of terracotta, a ductile and malleable, sensitive medium to the gesture due to its nature. The "spatial concepts" on colored terracotta graffitied with holes represent the meeting point with the plastic study of the 1930s, summarizing Fontana's entire artistic research which insists on the concepts of anti-matter, gestures and unity of the arts for the overcoming of forms already known. "I make a hole, infinity passes through there, light passes through, there is no need to paint. Everyone believed that I wanted to destroy: but that's not true, I built, not destroyed, that's the thing. Which, afterwards, I give it an aesthetic structure [...] it is a reason of aesthetic taste" (Lucio Fontana). 46,50 x 46,50 x 4,50 cm.
FONTANA LUCIO (1899 - 1968). CONCETTO SPAZIALE - NATURA, 1967. at the back: signature and edition, ex. 314/500 Made in 1967 in 500 copies and 5 artist's proofs by the Berrocal Foundry PROVENANCE Private collection, Vienna EXHIBITIONS Lucio Fontana, Civic Gallery of Modern Art, Turin, February - March 1970, pl. 234 (another example) Lucio Fontana, Spatial Conception, Tama Art University Museum, Tokyo 1990, n.67 p.71 (other copy) Lucio Fontana Sixteen Sculptures, 1937-1967, Amedeo Porro Modern and Contemporary Art, Milan 2007-2008, no. 15 (another example) Lucio Fontana: Beyond Space, Imago Art Gallery, London 2008, p. 93 (another example) BIBLIOGRAPHY C. Rigo and H. Ruhé, Lucio Fontana: Graphics, Multiples and More, Amsterdam 2006, n. B-2 . 20,00 x 26,00 cm.
Lucio Fontana (Rosario 1899 - Comabbio 1968), "Concetto spaziale", 1964 - 1965. Inchiostro, gouache nera e strappi su cartoncino, firmato in basso a destra, reca al retro timbro della Galleria Apollinaire Edizioni - Milano, H cm 32x47 (lievi difetti)
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