Attilio Selva

Overall the condition is very good with some wear to the patina consistent with age. There is some evidence of casting marks around the base.
"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."

According to Panzetta, Enigma, conceived in 1915, is 'one of the most significant works from [Selva's] Symbolist period.' The figure evokes a powerful feeling of contemplation and mystery. There is a strong sense of design in the formalised pose and strong contours of the body. In this Selva was influenced by contemporary middle European sculptures, in particular the work of Ivan Městrović (see lot 125).

Selva began his studies at the Scuola Industriale di Trieste before moving to Turin in 1905 where he joined the workshop of Leonardo Bistolfi. A few years later he was awarded a scholarship by his home town of Trieste to study in Rome. In 1932 he was elected to the Accademia d'Italia and he was also twice elected president of the Accademia di San Luca in Rome.

A marble version of Enigma is in the collection of the Galleria Nazionale d'Arte Moderna in Rome.

RELATED LITERATURE
F. Sapori, Scultura italiana moderna, Rome, 1949, pp. 304-5 & 472; A. Panzetta, Nuovo dizionario degli scultori italiani, Turin, 2003, vol. 2, p. 848