GIACOMO MANZÙ | Tebe che cade (Falling Thebes)

Private Collection, Florida (acquired from the artist in 1987)
Acquired from the above in November 1999

Florence, Villa di Poggio Imperiale, Manzù, retrospettiva, 1986, n.n., illustrated in the catalogue
Milan, Palazzo Reale, Retrospettiva Giacomo Manzù, 1988-89, n.n.
Rome, Galleria L'Isola, Manzù, 1990-91, no. 7
Mexico City, Museo de Arte Moderno, Retrospettiva Manzù, 1991-92, no. 50
Monte Carlo, IV Biennale de Sculpture, 1993, no. 48

Cesare Brandi & Carlo Giulio Argan, Giacomo Manzù, Florence, 1986, pl. 54, illustrated p. 129
Paolo Portoghesi & Fiorella Minervino, Manzù, Milan, 1988, no. 147, illustrated p. 178
Carlo Pirovano, Scultura Italiana del Novecento, Milan, 1993, illustrated p. 294

Variegated dark brown patina. Some dust and accretions in deeper crevices. The sculpture had been installed outdoors and there is some scattered effects of weathering visible on the surface. There are a few spots of discoloration and staining due to exposure to the elements, most visibly on the figure's limbs. There are a couple spots of verdigris on the balls of the figure's proper left foot. There is some rubbing to the patina on the legs of the chair, and to the top of the base. The work is in good condition.
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.

The present work is from a group of sculptures of a figure seated on the artist's distinctive straw and wood chair. Tebe che cade is by far the most dynamic of these, exploring the graceful balancing act of the figure on the single rear leg of the chair.

Livia Velani writes on this subject: "For Manzù, an old straw-seated chair from Chiavari constitutes a symbol, almost trademark. His only possession from the family home at Bergamo, the chair appeared in his very first drawing in which the artist began to study the seated female figure. The Galleria Nazionale d'Arte Moderna in Rome owns an embossed copper relief, from 1933, that was Manzù's first attempt to realize, in life-size, the figure of a seated young woman. At the Venice Biennale of 1948 the first bronze casting of the Girl on the Chair was shown along other works. He later perfected this in another version in 1949 and in 1955 in other versions. The subject in time evolved into the representation of his daughter Giulia as a child seated on a fantasy high chair, as in Giulia on the Chair, 1966, and during these last years with Tebe Seated, 1983, Tebe in Costume, 1985" (Livia Velani, Manzù, Milan, 1987, p. 56).

The Fondazione Giacomo Manzù has kindly confirmed the authenticity of this work.