Marino Marini

A gift from the artist to the mother of the present owner in the early 1950s

Executed on cream wove paper, not laid down, taped to the overmount on the reverse of the top two corners. The sheet is perforated along the left edge. Apart from some slight paper skinning and tiny losses in the top two corners, only partly visible when mounted, this work is in good condition. Colours: In comparison with the printed catalogue illustration, the tonality is overall stronger and more blue-grey in original.
"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."

The following group of works on paper by Marino Marini (lots 1, 2 & 5) was acquired directly from the artist by the mother of the present owner during the early 1950s, and has remained in the same family to this day. By turns harmonious, elegant and commanding, together they comprise a dynamic group which represents the sheer vitality and economy with which Marini approached his eternal subject, the horse and rider. Marini's horses - fraught with dualism, captive and yet on the threshold of rebellion, the embodiment of what Pierre Casè has described as 'tormented serenity' - became an enduring metaphor for the freedom of the human spirit. Never confined to the social or political context in which they were produced, they remain emblematic and universal, yet entirely the product of the artist's personal affinity with his subject.   

 

Marini became acquainted with a number of fellow artists active in Milan during the 1950s - including Carlo Carrà, Mario Sironi and Renato Birolli - through the often lively and spontaneous artists' gatherings which took place there. It was at these meetings that the mother of the present consignor encountered Marini himself. When frequenting the marble quarries of Massa Carrara in search of materials for his sculptures, Marini and his wife Marina often spent their holidays near to the consignor's family. Over a number of years, Marina and the mother of the present owner became close companions, and it is therefore a testament to their friendship that Marini presented her with these three captivating works.