Acquired by the family of the present owner in the 1950s

Santa Barbara, The Art Galleries, University of California, Nineteen Sculptors of the Forties, 1973

Executed on cream wove paper, not laid down, attached to the overmount on the reverse of the top two corners. Apart from some light handling creases and some slight scattered hairlines of craquelure, this work is in very good condition. Colours: Overall fairly accurate in the printed catalogue illustration, although the background has a slightly deeper tonality in the original.
"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.
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Marino Marini's images of horses, riders and circus performers are characterised by a mixture of playfulness and pathos. Here, the horse's legs are slightly bent, and its elongated head and neck are pointed upwards, a pose that can be interpreted as a joyous jump or a pain-stricken fall. Echoing the images of horses and acrobats found in Picasso's Rose period paintings, this theme was also associated in Marini's mind with the equestrian imagery used in art through the centuries. In Cavallo, the image of a single horse 𝔉acquires a distinctiv𒊎e timeless quality Marini looked for in all his work.

 

Executed in a grisaille-lik🌱e palette of grey, white and 🅷black tones, with pronounced triangular shapes forming the body of the horse, the present composition is strongly reminiscent of Marini's technique as a sculptor. The contrast between the black and white areas resembles the light and shadow reflected on a three-dimensional surface of a bronze, while the hatching lines recall the hand-chiselling with which the artist often adorned the surfaces of his sculptures.