- 22
Marino Marini
Estimate
15,000 - 20,000 EUR
bidding is closed
Description
- Marino Marini
- Piccolo satiro
bronzo
- cm 57x32x21
- Eseguito nel 1926, esemplare unico
Literature
Fondazione Marini Marini, Marino Marini. Catalogo ragionato della scultura, Milano 1998, pag. 28, n. 14, illustrato
Condition
This work appears to be in very 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."
"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."
Catalogue Note
Nel 1926 il giovane Marino Marini prende in affitto uno studio a Firenze ed entra in contatto con l'ambiente artistico della città che segue alle agitazioni "vociane" e al fervore futurista. In questi anni conosce Arturo Martini, artista la cui influenza nella riscoperta e reinterpretazione degli antichi e dei preclassici, sia di matrice etrusca che egizia e orientale, è centrale per lo svolgimento del linguaggio mariniano, tuttavia "maturato in chiave del tutto personale, con la curiosità di riscoprire, al di là di un bagaglio storico acquisito, soluzioni formali che attingessero a culture estranee al mondo occidentale". (L. Lorenzoni, Marino Marini, Ginevra-Milano 1999, pag. 290).