Lizzola Collection, Milan
Galleria Dino Tega, Milan
Acquired from the above by the present owner in May 1969

Turin, Galleria Narciso, Motivi d'Arte Contemporanea, 1962, illustrated in the catalogue
Turin, Galleria Gissi, De Chirico, Gli anni Venti, 1964 (as dating from 1922)

Claudio Bruni Sakraischik, Giorgio de Chirico. Catalogo generale, Milan, 1987, vol. 8, no. 536, illustrated
Maurizio Fagiolo dell'Arco, I Bagni Misteriosi. De Chirico negli anni Trenta: Parigi, Italia, New York, Milan, 1991, no. 29, illustrated p. 119 (titled Cavaliere in riva al mare and as dating from circa 1930)

The canvas is unlined. There are artist's tackholes in all four corners, and a spot of retouching corresponding to tackholes in the lower left corner, visible under ultra-violet light. Apart from a few tiny spots of paint loss at the middle of the left edge, this work is in very good condition. Colours: In comparison to the printed catalogue illustration, the overall tonality is slightly less yellow in the original. The brick-red, blue and purple tones are stronger and more pronounced 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1930, Cavallo e gladiatori is a magnificent early example of the subject of horses on the beach, which was to become a pivotal theme of de Chirico's career, and to which he returned frequently during the following decades. In the present work, the horse is accཧompanied by three figures of gladiators, with what resembles a classical building i𝐆n the background. Born in Greece from Italian parents, Giorgio de Chirico was surrounded by images of the antique world since early childhood. Classical history, mythology and architecture provided an endless source of inspiration for the artist, who often combined these subjects with the contemporary setting, to create images of a timeless quality.

 

In the 1920s de Chirico abandoned his early surrealist style, which had a great influence on the group of artists gathered around André Breton, and in turning to the classical world as a new source of inspiration, he embraced the new avant-garde trend led by Pablo Picasso's neo-classical period. Figures of horses and antique ruins on a beach, such as in Cavallo e gladiatori, replaced the enigmatic piazzas of his early surrealist compositions, whilst still retaining a mystical, dream-like character. In turning to this new subject, de Chirico was able to recreate the timeless quality of the classical world that has fascinated him since his early years. Although his return to classical antiquity was partly influenced by the rappel à ordre pre꧙valent in the years after World War I, de Chirico used these elem✤ents in a highly individual and innovative manner, creating one of the most original bodies of work in twentieth century art.