Amleto Cataldi Italian, 1882-1930

Overall the condition of the marble is excellent with some wear to the surface consistent with age and a few very small inclusions consistent with the material. On the proper right hand the tip of the thumb has been reattached as has the third finger, the middle finger has also been reattached and the tip of the middle finger may have been replaced. There is also some minor dirt to the surface. The wood base is also in very good condition with some minor wear to the surface.
"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."

The work of Amleto Cataldi is powerful, innovative and strikingly evocative of Italian modernist sculpture in the first three decades of the 20^th century.  His sculpture rarely appears at auction and this remarkable marble figure of Medusa is without doubt his most significant composition to come under the hammer.  Born in Naples, Cataldi turned away from the legacy of Gemito and moved to Rome to study at an early stage. His new concept of sculpture was better realised in marble than in bronze, the material of choice for the previous generation. Cataldi, like Adolfo Wildt, was a master craftsman in working marble, enabling him to achieve a specific finish to his surfaces. Cataldi's career flourished after 1910 with a busy calendar of exhibitions and commissions for many monuments and portrait busts of the Roman nobility. Increasingly he devoted his attention to the study of the nude, exhibiting internationally.  This elegant yet uncompromising figure of Medusa compares closely with his group of Portatrice d'Acqua. Both explore the balletic gesture of the outstretched arm, which is at once reminiscent of the Antique Apollo Belvedere and Michelangelo's Adam from the Sistine Ceiling.

RELATED LITERATURE
Geraci, pp.163-175; Panzetta, vol.1, p.209, fig.445; Vicario, vol.1, pp.302-303