吉雅卡莫．曼祝

傑弗瑞．H ．羅瑞亞， 紐約 (購自雕塑家本人)
維恩綽伯畫廊， 紐約 (賣出: 紐約蘇富比， 1995年11月9日， 拍品編號 329)
阿奎維拉畫廊， 紐約 (購自上述拍賣會)
現有藏家於1995年購自上述人士處

雅各．D．維恩綽伯，《二十世紀的重要雕塑》， 紐約，1987年，品號 39，圖錄附圖版

This work is in excellent condition. Patina is a rich, nutty brown with green and textured areas beneath the robe. There are no notable abrasions to the surface.
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.
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In Manzù's distinctive sculptural oeuvre, the series of seated cardinals have assumed an inonic status. The cardinal became a dominant theme in Manzù's post-war work and was inspired by church dignitaries whom the artist often encountered on the streets in his native Bergamo. The most celebrated interpretation of this subject is the Cardinale seduto, which depicts the stoic clergyman draped in his liturgical vestments and wearing his prominent mitre. The figure resembles an architectural structure in its angularity and rigidity of form, and conveys the imposing presence of this leading member of the Catholic Church.  For Manzù, however, these sculptures did not have a deeply religious or mystical significance; it was rather their visual impression, with their impressive garments, which fired his inspiration. 

Discussing the Cardinale series, John Rewald has written, "The first drawings of the subject dated from 1934, the first sculpture from 1938.  Between 1949 and 1950 the first large cardinal was created, and this was followed one after another by many more sitting and standing, small, large and even more than life-size...In Manzù's hands the cardinals were transformed into compact forceful volumes enlivened by extremely tender modeling and generously draped folds.  The massiveness of the volume is stressed by the economy of lines and the simplicity of plastic means" (J. Rewald, Giacomo Manzù, Greenwich, 1966, p. 59).