Marino Marini

Galleria dello Scudo, Milan
Acquired from the above by the present owner in 1980

Patrick Waldberg, Herbert Read & Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, no. 307, illustration of another cast p. 369
Carlo Pirovano, Marino Marini, Scultore, Milan, 1972, no. 312, illustration of another cast n.p.
Sam Hunter & David Finn, Marino Marini, The Sculpture, New York, 1993, n.n., illustration of another cast pp. 214-5
Fondazione Marino Marini (ed.), Marino Marini, Catalogue raisonné of sculptures, Milan, 1998, no. 393, colour illustration of another cast p. 275

Black patina with chiseled areas exposing the golden tones of the bronze. There is dust in the crevices. There is a casting crack to the figure's proper left leg and to the back of the figure's head. This work is in overall good condition.
"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."

From 1952 Marino Marini embarked on a series of nine sculptures relating to the theme of jugglers and acrobats, including the present cast, Giocoliere. The artist used the theme of the juggler as a catalyst for an exploration of movement and form, most evident in this work in the strong juxtaposition between the opposing vertical and horizontal forces of the two figures. This joyful motif contrasts with the tragic theme of the rider collapsing from a horse, on which the artist was simultaneously working. However, the formal chasm that unites, rather than separates, the rearing horse to the collapsing rider finds an echo in the dynamic energy that emanates from the expressive form and colour in the jugglers. It is precisely this combination of visual keenness and chromatic frenzy that animates these works, leading Giovanni Carandente to say of the sculptures: ‘In those nine models - one could say - Marini reached the apex of his expression’ (Giovanni Carandente, Marino Marini: Catalogue raisonné of the Sculptures, p. 18).