FERNANDO BOTERO | Man

Mangel Gallery, Philadelphia
Acquired from the above circa 1982

New York, Marlborough Gallery, Fernando Botero: Recent Sculpture, April - May, 1982, cat. no. 43, illustrated (edition no. unknown) 

Edward J. Sullivan, Botero Sculpture, New York 1986, p. 114, illustrated (edition no. unknown)

The sculpture exhibits a deliberately rubbed and mottled brown patina. Four ¼" long consecutive scratches were noted on the proper right index finger. Faint hairline scratches and tool marks can be seen throughout the surface which are inherent to the sculpture and part of the original tooling of the surface. Minor pitting in the bronze from the casting process can be seen in several areas throughout the surface. A 2" long faint hairline abrasion to the patina can be seen on the bottom edge of the base. The back-bottom edge of the man's hair appears slightly rubbed. A 1 ½" faint hairline scratch was present on the proper left back shoulder blade. Tiny spots of patina loss were visible on both buttocks. No sign of damage or excessive wear was observed on the surface. The sculpture is structurally sound. (This condition report has been provided courtesy of Wilson Conservation, LLC)
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.

"To me, the three-dimensional or volumetric plasticity of form is very important. In the watercolors I painted as a boy, this trend was already very clear-cut. So the artists I preferred were those especially interested in volumes: Giotto, Masaccio, Piero della Francesca, Ingres, etc. By studying those artists I gradually clarified what space and volume meant to me."  Fernando Botero