Amleto Cataldi

Overall the condition of the bronze is good with some wear and dirt to the surface consistent with age. There is some minor water staining to the surface, in particular to the centre of the chest and to the proper left side of the face, and some white spotting to the proper right hand. There are a few scratches to the patina at the breasts. There are a few small areas of possible restoration to the patina, in particular at the proper right hip at the front and to the buttocks, where the surface is a lighter green. Casting flaws between the legs and to the base have caused some minor lacunae. There are two stable hairline fissures to the shins at the front and a further fissure at the base due to casting flaws.
"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."

Amleto Cataldi was one of the most celebrated sculptors of his generation. His career was occupied with exhibitions and continual commissions for monuments and portrait busts of Roman nobility. Today his legacy is left in Rome in sculptures such as Woman with amphora in the Pincio Garden, Victory on the Victor Emanuel Bridge, the memorial to the Guardia della Finanza who died in World War I in Viale XXI Aprile, as well as the only other two versions of the present model in the National Gallery of Modern Art and the courtyard of the former Ministry of Civil Protection.

Cataldi’s style was inspired by the antique: the classical mastery of beauty and idealised form were integral to Cataldi’s working principles. He developed a particular interest in the nude female form and incorporated into his compositions the classical ideals of balance and harmony. The present female nude epitomises poise as she places her weight on one leg and accordingly drops her shoulder and hip. The outstretched arm and contrapposto of Portatrice d’Acqua is reminiscent of the celebrated antique Apollo Belvedere.

However, where Cataldi innovated most successfully was in his integration of modern and decorative idioms in to the classical tenet. He was increasingly inclined towards stylish forms, where balletic nudes tested the boundaries of balance and compositions were stronger and more intense than their classical predecessors. This synthesis of ideals was encapsulated by fellow sculptor Rodin, who described Cataldi’s sculpture as ‘a living expression, always combined with rhythmic harmony’ (quoted in Scarpa, op. cit.). The Portatrice d’Acqua is a truly exceptional bronze which expresses the elegance of antique statuary while evoking the contemporary styles of Italian modernist sculpture of the 20^th century.

RELATED LITERATURE
Mostra Collettiva di Enrico Lionne, Amleto Cataldi e Vincenzo Miranda, exh cat. Galleria Pesaro, Milan, 1919, opere di Amleto Cataldi no. 10; Prima biennale Romana. Esposizione nazionale di belle arti nel cinquantenario della capital Roma, Rome, 1921, p. 31; P. Scarpa, Mostra postuma dello scultore Amleto Cataldi, exh. cat. Galleria della associazione artistica, Rome, 1951