Giuseppe Maria Mazza 1653 - 1741

Heim Gallery, London

Washington, New York, and Cambridge 1979-1982, no. 39, (illus.); New York, 1981, no. 27, (illus. on cover); Chicago 1987-1988, no. 14, (illus.)

Riccòmini 1970, p. 9; Riccòmini 1972  p. 98, no. 110, ill.; Detroit 1974, p. 48

Surface abrasions, chips and losses. There are restorations throughout due to breaks. Hairline cracks are visible. A layer of terracotta-colored pigment has been applied to the surface. Sword in his proper right hand has been restored and is loose. A piece of wood has been placed in the underside for reinforcement. There is an opening (approximately 3 by 3 1/2 inches) on the reverse. Requires some attention. High quality modeling.
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.

In this impressive group, the figure of an adolescent David rises above the rumpled body of the defeated Goliath, hoisting the severed head in a display of triumph.   David's diminuitive features, strong brow, and high forehead are the work of a young Giuseppe Maria Mazza, and are comparable with Mazza's figures now in the Museo Davia Begellini in Bologna (Riccòmini 1972 op. cit., p. 367, no. 275).  The ingenious composition solves the spatial problem of depicting a fallen giant beneath a triumphant youth, with the body of Goliath serving as a pedestal for David's assured contrapposto, and dramatically contrasts the scale of the two heads.  Mazza's design seems to have inspired Foggini in his well-known group of the same subject now in the Cleveland Museum (Detroit op. cit. no. 11).