Adolfo Wildt

Overall the condition of the marble is very good. There is some dirt to the surface and some surface scratches particularly under the lower lip and around the left eye. There are some filled nicks to the surface particularly to the centre of the forehead. There is a small chip to the lower left corner. And some minor wear to the upper left corner.
"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."

Adolfo Wildt first entered the studio of Giuseppe Grandi, before learning the art of marble carving from Federico Villa. In 1894 he met Franz Rose and entered into an agreement with the German collector whereby Rose would receive the first version of each of Wildt's sculptures in return for an annual allowance. This patronage freed Wildt to develop his artistic vision. By the time Rose died in 1912 and Wildt was forced to approach a wider market for his work, the sculptor had achieved a highly unconventional, personal style. Influences on Wildt included Symbolism and Gothic prototypes: he worked on a number of religious themes including his St Francis of 1926, but in a distinctly modern idiom uniquely his own. He won the Principe Umberto prize in 1913, and his career continued in ascendancy through the 1910s and 20s with acclaimed critical reception.

Wildt experimented with different types of marble and carving techniques to achieve a transparent luminosity. From 1921 to 22 he taught marble carving in Milan in an art school set up along the lines of a medieval workshop. He became head of sculpture at the Brera Academy the following year. His pupils included Fausto Melotti and Lucio Fontana.

The present marble focuses on a motif from La Concezione of 1921. La Concezione depicts the faces of a mother and father above a gilded child who is supported by a floral motif, crowned with the waving rays of a halo and described as a 'cosmic prayer' by Elena Pontiggi. The quasi-religious tone of the relief suggests a kind of secular incarnation, as the mother clasps her hands in prayer. As he did for the colossal Famiglia of the following year (since destroyed) Wildt picked out the head of La Concezione's mother to rework in a separate sculpture. Emerging from the smooth, flat surface the face is framed by the halo-effect of the concentric circular lines. The pinched angularity of the face with its stylised eyes and brows and pointed chin is typical of Wildt's style, as is the intense concentration on an abstracted detail.

This lot is sold with an expertise by Paola Mola.

RELATED LITERATURE
Adolfo Wildt e i suoi allievi, no. 29-31, pp. 84-7