Fausto Melotti - Casa Fornaroli London Thursday, April 27, 2023 | Phillips

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  • Delicate, paper-thin, light as a feather, and with an iridescent shimmer, Fausto Melotti’s maiolica bowls are worthy of being likened to magic, as they truly nigh on the immaterial. Chromatic effects, including metallic lustres freely running into each other, appear united with a fine ceramic body, merging plastic and pictorial values into one. They are the fruit of Melotti’s superior know-how and ability to handle clay, glaze properties, and his mastery of the fire in the kiln. For the artist, this process is an avenue to explore the impossible: getting close to a void, an expression, or a form of the intangible.

     

    Melotti ceramics in the garden of his studio, Milan, circa 1953.
    Credit: La Ceramica, no.6, June 1953

     

    The present bowl, and those in lot 259, are representative of Melotti’s period of fervent research into maiolica works, produced in his Milan studio at 26 via Leopardi during the post-World War II years. Unlike his contemporary and friend Lucio Fontana, Melotti fired his works in his own kiln and neither participated in the adventures in Albisola nor collaborated with other ceramicists. The bowls reflect Melotti’s rather secretive and intimate research into the qualities of the ceramic medium and glazes, as well as the firing conditions of his own kiln, to approach perfection by amalgamating form and colour into an expression of anti-matter.

     

    Melotti’s close affinity with the ceramic processes were described by the critic Elio Palazzo in 1953: "The special feature, but above all the quality of Melotti's work, whether pearls in necklaces, vases or sculptures - lies both in the small imperfections, in the cracks and plastic deformations caused by the fire during firing, as well as by manual modelling which make the light sparkle in their at once smooth and moving surfaces. The thinly glazed, reflective maiolica, worked with ductileness like metal plates, catches and reflects the light with particular effects that have been studied [by Melotti] since the early 1930s, giving the entire work a deep tactile and visual pleasure".

     

     

    By Dr. Lisa Hockemeyer, Art and Design Historian and Associate Professor of Design, Politecnico di Milano

    • Provenance

      Antonio Fornaroli, Milan
      Thence by descent

    • Literature

      Antonella Commellato and Marta Melotti, eds., Fausto Melotti: L’Opera in Ceramica, exh. cat., Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Milan, 2003, p. 310

    • Catalogue Essay

      The present lot is registered in the Fondazione Fausto Melotti, Milan, as number CO 022.

      Phillips wishes to thank Rudi Cerri of the Fondazione Fausto Melotti for his assistance in cataloguing the present lot.

229

Bowl

circa 1955
Glazed ceramic.
12 x 25.6 x 19.6 cm (4 3/4 x 10 1/8 x 7 3/4 in.)
Underside with artist's seven dot cipher.

Full Cataloguing

Estimate
£5,000 - 7,000 ‡♠

Sold for £6,350

Contact Specialist

Antonia King
Head of Sale, Design
+44 20 7901 7944
Antonia.King@phillips.com

Casa Fornaroli

London Auction 27 April 2023