Giacomo Manzu (1908-1991) Italian, Rome, circa 1963

stamped: MANZU NFMM; on a porphyry socle

acquired directly from the artist by the present owner, 1975

Overall the condition of the bronze is very good. There is some minor wear and dirt. There are some minor chips and small restorations to the porphyry socle, particularly along the edges.
"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 present bronze head of Pope John XXIII is among the most intimate of Manzù's vast oeuvre of Catholic sculptures. Manzù's beginnings as an artist were erratic, culminating in a deportation from Paris after the young sculptor had collapsed from hunger. Back in Italy he came under the influence of Medardo Rosso's work and adopted a sober but delicate style of modelling. A trip to Rome in 1934 inspired him to focus on religious subject-matter. Next to several prize-winning female nudes his vast series of cardinals and a number of major commissions for church decorations put him among Italy's most venerated 20^th-century sculptors.

Manzù and Pope John XXIII's relationship developed into a deep friendship while the sculptor was working on the Gates of Death for St. Peter's Basilica in Rome. The Pope commissioned the redesign of the doors and worked closely with the artist on the unconventional subject-matter. During this time (circa 1960-1963) the Pope, at the twilight of his life, sat for the Communist sculptor. Manzù modelled seven versions of the portrait. Four were destroyed by Manzù while two of three remaining versions are kept in the Vatican's Collection of Modern Religious Art and San Marco's in Venice. The present version, by far the most successful, was the only portrait cast in a small edition.

RELATED LITERATURE
L. Velani, Manzù, Milan, 1988, p. 88, cat. 53; F. Buranelli, 'Giacomo Manzù e la Collezione d'Arte Religiosa Moderna dei Musei Vaticani', in: Manzù. L'Uomo e l'Artista, exh. cat. Palazzo Venezia, Rome, 2002, pp. 33-36, figs. 2 and 3; C.B. Pepper, An artist and the Pope. Based upon personal recollections of Giacomo Manzù, London, 1969