Lucio Fontana

Collezione privata, Italia
Collezione privata, Milano

This work is in very good condition. There are few minor losses along the borders by the supporting brackets. No traces of retouching appear to be visible under UV light.
"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."

L'opera è accompagnata da attestato di libera circolazione

an export licence is available for this lot

Quel connubio tra spazio e materia o tra spazio, colore e materia, che l'artista attinge con l'uso della ceramica, per quel valore originario, di materia prima che diviene nella lavorazione più e oltre che materia, può essere certamente inteso in chiave barocca, per quelle esuberanze ed escrescenze che sono parte attiva ed essenziale di una forma plastica che si concepisce come movimento. Infatti la ceramica trattata per sfruttare le potenzialità cromatiche e luministiche oltre che materiche dei processi di cottura e di rifinitura dà luogo a esiti che sono stati riconosciuti affini a modi tardo-barocchi o rococò per quel frangersi in colate che avviluppano il nucleo dell'immagine, in un movimento che è prima di tutto di superficie. 

That bond between space and matter or between space, colour and matter that the artist draws with the use of ceramics, for that original value, of raw material that becomes during the processing more and more than matter, can certainly be understood in a baroque perspective, for those exuberances and excrescence that are an active and essential part of a plastic form that is conceived as a movement. In fact, the pottery treated to exploit the chromatic and luministic potentials as well as the materials of the baking and finishing processes, gives rise to results that have been recognized similar to late-baroque or rococò ways for that crashes in flows that envelop the core of the image, in a movement that is first of all a movement of surface.

Francesco Tedeschi, in catalogo della mostra, Lucio Fontana. Metafore barocche, Verona 2002-2003, p. 19