Certificate of authenticity by Professor Enrico Mascelloni. Provenance: cinema PARIS, Roma. The work comes from a group of nine ceramics, equal three to three, which decorated the walls of the Paris cinema in Rome. Literature (for comparison): Leoncillo Le Ceramiche, 2 voll. a cura di Marco Fabio Apolloni e Monica Cardarelli, De Luca Editori d'Arte, 2018, pp. 103 e 104.

"Very similar to three other bas-reliefs of almost the same shapes and sizes, of the same colors and an equally intense and accentuated modeling (now in the Apolloni collection and already at the Universo hotel and later, in the 1970s, at the Ripa Residence), of Leoncillo's work that will be fully deployed in the great sculptures of the last decade: a surprising and disturbing double for each of his major plastic creations. Considering the absence of any mold for the works of this phase (oral comunication to the writer of the artist's children as well as his assistants at the time: from Mario Ceroli to Franco Ciuti) his ability to reproduce the periphrasis of the modeling up to the most gestural thrust into the body of matter is truly surprising.
All three works are aniconic, although figurations such as trees and boats have been glimpsed.
A polychrome drawing, with the three panels rather faithful to the sculptural realization, seems to be the preparatory sketch (Spadoni 343 n.27).

Very similar in every respect to the panel in the Apolloni collection (Apolloni / Mascelloni, Leoncillo. Le ceramiche ed. De Luca 2018, pages 100/101 and 111) it is characterized by a dominant yellow color and by the absence of thin and linear engravings on the material that characterize the panel with the dominant in red. Works with the dominant in yellow are documented throughout Leoncillo's neocubist phase (see, the great Eleminus for Balaustra, Apolloni / Mascellani pages 90-92 and 111)." (Enrico Mascelloni)