Giuseppe Maria Mazza

signed and dated on the reverse: 17(?)6 G:M ^F

Heim Gallery, London

Washington, New York, Cambridge 1979-1982, no. 40 (illus.)

Standard surface abrasions, chips and losses, clay slip or paint applied to surface. Neck broken and restored; nose broken and restored. Restorations to surface. Chips throughout including to hands and base. Stable and attractive.
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.

RELATED LITERATURE

Riccòmini 1972, pp. 90-115, figs. 210-277

Several of Mazza's terracottas are signed including a terracotta relief of the Rest on the Flight to Egypt in the Cleveland Museum of Art which is signed G.M., and a group of the Madonna and Child from the Boschi Collection in Bologna which is also signed G.M.

The broad face, small, lozenge-shaped eyes and diminutive nose and mouth can be seen in other figures by Mazza such as his putti and reliefs with female allegorical figures in the Palazzo Widmann-Foscari, Venice. Mazza employed voluminous drapery and was celebrated for his subtle, sweet facial features and expressions.