Marino Marini

Galerie d'art moderne, Rome
Marie-Suzanne Feigel, Basel
Gallery Moos, Toronto
Acquired from the above

Rome, Palazzo Venezia, Mostra di Marino Marini, 1966, no. 58

Herbert Read, Patrick Waldberg & Gualtieri di San Lazzaro, Marino Marini, Complete Works, Milan, 1970, no. 68, illustrated p. 400
Lorenzo Papi & Erich Steingräber, Marino Marini pittore, Ivrea, 1987, no. 131, illustrated p. 66

The canvas is unlined and clean. When examined under UV light, there is no evidence of any restoration or overpainting to the pigment. There is very minor crazing to the white pigment in the upper right quadrant and further minor scattered crazing to the black pigment. There is a very minor pin-dot hole on the border in the lower left quadrant. There is a light diagonal scratch to the pigment in the upper right quadrant of the background approximately 3 in. in length, which may date close to the date of the work's execution. The painting is in very good original 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The motif of the horse and rider in Marini’s oeuvre is rich in classical association, referencing the great tradition of equestrian statuary in Italian artistic and political culture. Long considered to be the paradigm of imperial authority, the subject is subverted in Marini’s works, often exposing the inability of man to overcome the power of the horse. In the present work, however, the horse is tamed by two figures, depicted with grace and assurance reminiscent of classical sculpture. Furthermore, the motif of the juggler in the present work echoes the images of harlequins and circus performers found in Picasso’s Rose Period paintings.