ALFREDO PINA | Bust of Beethoven

Overall, the condition of the marble is very good, with some dirt and wear to the surface consistent with age. There is some dark veining to the marble, consistent with the material, including a vein running on the proper right side of the face, from the hair down to the jaw. There are a few scuff marks, including some reddish marks to the back of the bust, in particular on the proper left side. There is an area of scratching and a scuff mark to the proper left side of the forehead and to the hair above this area. The nero portoro marble base is in good condition. There are some scratches to the top of the base where the bust meets it. There are minor chips and abrasions to the edges and corners.
"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."

Having attended the Accademia di Brera in his native Milan, Pina moved to Paris around 1906 and first exhibited at the Salon in 1912. On arrival in Paris, the young Italian immediately felt the impact of Auguste Rodin's powerful style. Pina even worked in Rodin's atelier from 1909-10. In particular, he was certainly influenced by Rodin's turmoiled Gates of Hell (1880 - circa 1900). Pina also produced a bronze version of this bust, modelled in Montpellier during the First World War. He was by no means the first sculptor to have treated the cult of the great composer Beethoven. Guiseppe Grandi, Max Klinger and Emile-Antoine Bourdelle all produced representations of Beethoven that express his genius in terms of an intense pathos and temperament. What set Pina's bust apart was the Rodinesque play of form in the expressive attitude of the modelling, which deliberately suppresses accuracy of detail for a generalised depiction of inner emotion. Pina's bust of Wagner, while sharper in the definition of form, is treated in a similar manner and with a hallmark emphasis on the rendition of the eyes. In 1920 Pina sent his Bronze bust of Beethoven for exhibition at the Venice Biennale which may be identified as the one in the 'museum of Venice' mentioned in de Pawlowski's biography of the artist published in 1929.

RELATED LITERATURE
G. de Pawlowski, Alfredo Pina, Paris, 1929, unpaginated; A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell'Ottocento e del Primo Novocento, vol. II: M-Z, Torino, 2003, p. 695