Horse and Riders
See also : Animals China Chinese art Song and Yuan 18th century painting Art on paper Orientalism UK II George I to III Ancient French painting Louis XVIII to 2nd Empire Germany II Kandinsky Far West Paris Sport in art Origins of sports European ceramics
Chronology : 14th century 18th century 1760-1769 1830-1839 1870-1879 1905 1908 1911 1912 1918 1981
Chronology : 14th century 18th century 1760-1769 1830-1839 1870-1879 1905 1908 1911 1912 1918 1981
Yuan - The Return of the Drunken Kings
2016 SOLD for RMB 304M yuan including premium
On November 29, 2009, Christie's sold for HK $ 46.6M a Chinese hand scroll on the theme of the drunken kings, lot 815. Before the sale, I had discussed this unusual and nice picture as follows :
"It is a hand scroll 2.10 m long and 35 cm high painted in ink and colors. The title is remarkable : Five drunken kings return on horses. There are nine characters overall. The kings are riding in vacillating attitudes and four grooms attend to assure that their honorable masters will not fall.
"The artist was named Ren Renfa and lived under the Yuan dynasty 700 years ago. He was following a tradition dating back to the Tang dynasty and specialized in images of horses of great beauty. The irreverent nature of the theme is a proof of humor rare in art history suggesting a great artistic freedom at the time of the Mongolian rule."
This piece returns for sale in Beijing on December 4 at Poly Auction, lot 4050. It is in a very good contrast in spite of its age and has been carefully analyzed. The pattern of the paper is conformant to the Song technologies and is earlier than the Ming. The scroll includes ancient colophons as well as the seals of three Qing emperors.
These drunken kings can be identified and were the subject of a very ancient poem. Although his work is not uncommon, Ren Renfa was probably not a professional artist : he worked as an imperial official in charge of water control. Contrary to my 2009 enthusiasm, it is fool to discuss from that single example the freedom in artistic expression at Yuan time.
The Tang loved horses, for war and for pleasure. Artists like Han Gan and Zhang Xuan were drawing the riders with high realism and this tradition was still fresh under the Yuan. Another predecessor of Ren Renfa was the Song artist Li Longmian. The procession of drunken kings by Ren displays revealing similarities in its composition with an elegant promenade of women painted two centuries earlier by Li after Zhang and preserved at the Taiwan Museum.
"It is a hand scroll 2.10 m long and 35 cm high painted in ink and colors. The title is remarkable : Five drunken kings return on horses. There are nine characters overall. The kings are riding in vacillating attitudes and four grooms attend to assure that their honorable masters will not fall.
"The artist was named Ren Renfa and lived under the Yuan dynasty 700 years ago. He was following a tradition dating back to the Tang dynasty and specialized in images of horses of great beauty. The irreverent nature of the theme is a proof of humor rare in art history suggesting a great artistic freedom at the time of the Mongolian rule."
This piece returns for sale in Beijing on December 4 at Poly Auction, lot 4050. It is in a very good contrast in spite of its age and has been carefully analyzed. The pattern of the paper is conformant to the Song technologies and is earlier than the Ming. The scroll includes ancient colophons as well as the seals of three Qing emperors.
These drunken kings can be identified and were the subject of a very ancient poem. Although his work is not uncommon, Ren Renfa was probably not a professional artist : he worked as an imperial official in charge of water control. Contrary to my 2009 enthusiasm, it is fool to discuss from that single example the freedom in artistic expression at Yuan time.
The Tang loved horses, for war and for pleasure. Artists like Han Gan and Zhang Xuan were drawing the riders with high realism and this tradition was still fresh under the Yuan. Another predecessor of Ren Renfa was the Song artist Li Longmian. The procession of drunken kings by Ren displays revealing similarities in its composition with an elegant promenade of women painted two centuries earlier by Li after Zhang and preserved at the Taiwan Museum.
1765 Portrait of a Champion by Stubbs
2011 SOLD 22.4 M£ including premium
Serving wealthy English aristocrats, George Stubbs specialized in the topic of race horses. On December 8, 2010, Sotheby's sold £ 10.1 million including premium a very elegant study of mares and foals in a meadow, painted in 1767.
Made around 1765, the oil on canvas for sale by Christie's in London on July 5 is certainly more outstanding. It is estimated £ 20M. This is the portrait of a horse named Gimcrack, who was winning most of the races where he was engaged.
This broad composition, 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
POST SALE COMMENT
Sold £ 22.4 million including premium, Gimcrack has once again won his race.
Made around 1765, the oil on canvas for sale by Christie's in London on July 5 is certainly more outstanding. It is estimated £ 20M. This is the portrait of a horse named Gimcrack, who was winning most of the races where he was engaged.
This broad composition, 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
POST SALE COMMENT
Sold £ 22.4 million including premium, Gimcrack has once again won his race.
#GeorgeStubbs was born #OTD in 1724. We sold Gimcrack on Newmarket Heath in 2011 for £22,441,250 #WorldAuctionRecord #artistbirthday pic.twitter.com/B7fCB2eivD
— Christie's (@ChristiesInc) August 25, 2017
1767 Horses for English Lords
2010 SOLD 10.1 M£ including premium
Contemporary of Gainsborough, George Stubbs chose horses in landscapes as the main subject of his art. This theme evoked both breeding and sport, and was much pleasing to the English aristocracy.
In 1767 the artist creates the best of his work with the depiction of groups of mares and foals. A large oil on canvas, 100 x 187 cm, is one of his masterpieces. The animals are elegant and finely detailed, far more real than those of De Dreux or Herring in the following century. The image, slightly truncated, is visible in the press release shared by Artdaily.
The painting was kept by the same family of Lords since the origin and had been shown to the public in 2005 in the exhibition Stubbs and the Horse at the National Gallery.
It is now for sale by Sotheby's in London on December 8. For 30 years, no similar lot had been offered at auction, and Sotheby's expects a special price: £ 10M.
POST SALE COMMENT
It was bold to present this painting at such a price level. The challenge is won: £ 10.1 million including premium. Congratulations to Sotheby's.
In 1767 the artist creates the best of his work with the depiction of groups of mares and foals. A large oil on canvas, 100 x 187 cm, is one of his masterpieces. The animals are elegant and finely detailed, far more real than those of De Dreux or Herring in the following century. The image, slightly truncated, is visible in the press release shared by Artdaily.
The painting was kept by the same family of Lords since the origin and had been shown to the public in 2005 in the exhibition Stubbs and the Horse at the National Gallery.
It is now for sale by Sotheby's in London on December 8. For 30 years, no similar lot had been offered at auction, and Sotheby's expects a special price: £ 10M.
POST SALE COMMENT
It was bold to present this painting at such a price level. The challenge is won: £ 10.1 million including premium. Congratulations to Sotheby's.
1833-1834 Choc de Cavaliers Arabes by Delacroix
1998 SOLD for FF 46.5M before fees by Piasa
1872 Les Courses au Bois de Boulogne by Manet
2004 SOLD 26.3 M$ including premium by Sotheby's
"Edouard Manet 052" by Édouard Manet - The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.. Licensed under Public domain via Wikimedia Commons.
1896 Typically Far West : the Bronzes of Frederic Remington
2008 SOLD 5.6 M$ including premium
Two important bronzes dominate the group of works by Frederic Remington that Sotheby's will present in New York on May 22.
Very animated, with two horses full speed and two riders on their backs, the lot 171 is titled Wounded Bunkie. Estimated 3 M$, it is a 51 cm high bronze of red brown patina edited in 1896.
Quite as dynamic with its rider on a pulled up horse, the 57 cm high Outlaw, lot 167, is awaited 2 M$. Edited in 1906, therefore still during the artist's life, it is a dark brown patina bronze.
These two lots will be sold for the benefit of a charitable foundation.
Reviewing the other bronzes of Remington presented in the same catalogue, one can think that the importance of the price is related to the model, and especially to the dramatic intensity of the action. It is what still makes it possible to envisage Mountain Man at 400 K$ (lot 158) but leaves a rather insipid Scalp, lot 179, at 250 K$.
But it is not so simple: in the past, the important biddings mostly went on Broncho Busters, these models culminating with the specimen sold 2,6 M$ fees included at Christie's, of course in New York, on November 29, 2007. There is well also a Broncho Buster at Sotheby's on May 22, lot 163, but it is estimated 500 K$ only. All these sculptures are of similar size and times, and it would be necessary to be in the passion of the subject to identify what makes the difference of price between these specimens.
POST AUCTION COMMENT
The auction house knew about it. Among the five bronzes that I had identified, the most expensive made the best gains. The three following lots were also sold beyond estimate.
Here are their results, including the fees: $ 5.6 million for Wounded Bunkie; $ 3.4 million for Outlaw; 710 K$ for Broncho Buster; 540 K$ for Mountain Man.
I was not entirely wrong either, even if my explanations do not yet understand everything about the ratings for Remington: Scalp, which from the photo was not of interest, did not find buyer, on an estimate of 250 K€. For this artist like everyone else, the signature is not enough to predict a price.
By the way, here is a competitor for Remington: on July 26 in Reno at The Coeur d'Alene Art Auction, a large bronze by Charles M. Russell is estimated $ 3 million. It shows Indians on horseback attacking cattle. (SOLD 3.6 M$ before fees).
Very animated, with two horses full speed and two riders on their backs, the lot 171 is titled Wounded Bunkie. Estimated 3 M$, it is a 51 cm high bronze of red brown patina edited in 1896.
Quite as dynamic with its rider on a pulled up horse, the 57 cm high Outlaw, lot 167, is awaited 2 M$. Edited in 1906, therefore still during the artist's life, it is a dark brown patina bronze.
These two lots will be sold for the benefit of a charitable foundation.
Reviewing the other bronzes of Remington presented in the same catalogue, one can think that the importance of the price is related to the model, and especially to the dramatic intensity of the action. It is what still makes it possible to envisage Mountain Man at 400 K$ (lot 158) but leaves a rather insipid Scalp, lot 179, at 250 K$.
But it is not so simple: in the past, the important biddings mostly went on Broncho Busters, these models culminating with the specimen sold 2,6 M$ fees included at Christie's, of course in New York, on November 29, 2007. There is well also a Broncho Buster at Sotheby's on May 22, lot 163, but it is estimated 500 K$ only. All these sculptures are of similar size and times, and it would be necessary to be in the passion of the subject to identify what makes the difference of price between these specimens.
POST AUCTION COMMENT
The auction house knew about it. Among the five bronzes that I had identified, the most expensive made the best gains. The three following lots were also sold beyond estimate.
Here are their results, including the fees: $ 5.6 million for Wounded Bunkie; $ 3.4 million for Outlaw; 710 K$ for Broncho Buster; 540 K$ for Mountain Man.
I was not entirely wrong either, even if my explanations do not yet understand everything about the ratings for Remington: Scalp, which from the photo was not of interest, did not find buyer, on an estimate of 250 K€. For this artist like everyone else, the signature is not enough to predict a price.
By the way, here is a competitor for Remington: on July 26 in Reno at The Coeur d'Alene Art Auction, a large bronze by Charles M. Russell is estimated $ 3 million. It shows Indians on horseback attacking cattle. (SOLD 3.6 M$ before fees).
1905 Gallops in the Wild West
2017 SOLD for $ 11.2M including premium
From his studio in New Rochelle in the suburbs of New York, Frederic Remington illustrates for the magazines the joys and torments of the frontiersmen. He wants to revive by his realism the atmosphere of the Wild West and is influenced by the decomposition of the gallop masterfully demonstrated by the photographs of Muybridge against all preconceived ideas.
When Remington becomes a sculptor, he pushes to its paroxysm the study of the imbalance in rapid movements. In 1895 his first masterpiece in that technique, The Broncho Buster, shows a tall prancing horse on his hind legs with no other support, seeking to dismantle his rider. A bronze 58 cm high edited in 1906 was sold for $ 2,6M including premium by Christie's on November 29, 2007.
Even bolder : in 1896, the sculptor attempted a group of two in full gallop entitled The Wounded Bunkie, only connected to the base by two hoofs, one per horse in compliance with the findings of Muybridge. A bronze 51 cm high edited in the first year was sold for $ 5.6M including premium by Sotheby's on May 22, 2008.
Nothing stops that demanding artist. In 1902 he conceives a group of four linked through five legs, departing from Muybridge. The founder succeeds in convincing him of the impossibility of the realization and a compromise with six bearing hoofs is accepted. Titled Coming through the Rye, it is once again a scene expressing a great fastness. The four galloping horses are ridden by cowboys in full euphoria who exhibit their pistols at the end of their arms stretched upwards.
Some orders are received in 1903 but the realization is a feat. This complex piece 78 cm high is too cumbersome and the price tag at 2,000 dollars is too expensive. Very few copies will be made.
Dated 1905 and delivered in 1906 to Tiffany and Co, the serial number 3 is estimated $ 7M for sale by Christie's in New York on May 23, lot 7.
Considering this commercial failure Remington destroyed his models in wax and plaster in 1908. In the same year, disgusted by the new trend of fantasy illustrations, he prepared a bonfire in his yard and destroyed hundreds of his original paintings. This artist out of standards in every sense of that wording dies in 1909 at the age of 48 from complications related to his extreme obesity.
When Remington becomes a sculptor, he pushes to its paroxysm the study of the imbalance in rapid movements. In 1895 his first masterpiece in that technique, The Broncho Buster, shows a tall prancing horse on his hind legs with no other support, seeking to dismantle his rider. A bronze 58 cm high edited in 1906 was sold for $ 2,6M including premium by Christie's on November 29, 2007.
Even bolder : in 1896, the sculptor attempted a group of two in full gallop entitled The Wounded Bunkie, only connected to the base by two hoofs, one per horse in compliance with the findings of Muybridge. A bronze 51 cm high edited in the first year was sold for $ 5.6M including premium by Sotheby's on May 22, 2008.
Nothing stops that demanding artist. In 1902 he conceives a group of four linked through five legs, departing from Muybridge. The founder succeeds in convincing him of the impossibility of the realization and a compromise with six bearing hoofs is accepted. Titled Coming through the Rye, it is once again a scene expressing a great fastness. The four galloping horses are ridden by cowboys in full euphoria who exhibit their pistols at the end of their arms stretched upwards.
Some orders are received in 1903 but the realization is a feat. This complex piece 78 cm high is too cumbersome and the price tag at 2,000 dollars is too expensive. Very few copies will be made.
Dated 1905 and delivered in 1906 to Tiffany and Co, the serial number 3 is estimated $ 7M for sale by Christie's in New York on May 23, lot 7.
Considering this commercial failure Remington destroyed his models in wax and plaster in 1908. In the same year, disgusted by the new trend of fantasy illustrations, he prepared a bonfire in his yard and destroyed hundreds of his original paintings. This artist out of standards in every sense of that wording dies in 1909 at the age of 48 from complications related to his extreme obesity.
Announcing Frederick Remington's Coming Through the Rye selling this May in our American Art sale https://t.co/ZsojWhvXUb pic.twitter.com/LXdvOHZ55A
— Christie's (@ChristiesInc) May 8, 2017
1908 The Illustrator of the US Cavalry
2013 SOLD 5.6 M$ including premium
Frederic Remington was a man of the East, at a time of an intense curiosity about the Wild West. He became an artist and his works were published in magazines such as The Century Magazine, Harper's Weekly and Collier's Weekly. He was a contemporary of Theodore Roosevelt and illustrated a book by him in 1887.
He at first made frequent trips to the West to soak up the atmosphere. The men of the cavalry were gallant heroes against the fierce Indians, and they were also clients who could ensure his glory.
Caught in the social life of the East, he became obese and almost impotent. He began at that point his career as a sculptor. He was the best interpreter of the riders on their fiery horses, with magnificent bronzes and also realistic figures of the gallop positions as proved to artists by Muybridge's experiments.
From 1901 his work for Collier's became steady. When Remington died in 1909, the magazine still had sixteen of his paintings ready to be published.
Painted in 1908, 'Cutting out pony herds' shows the US cavalry guiding a herd of Indian horses away from their camp. This oil on canvas 60 x 100 cm was published by Collier's in 1913. It is estimated $ 5M, for sale on July 27 in Reno by The Coeur d'Alene Art Auction.
POST SALE COMMENT
This painting was sold exactly at its lower estimate, $ 5 million before fees.
The image is shared post sale by Auction Central News.
He at first made frequent trips to the West to soak up the atmosphere. The men of the cavalry were gallant heroes against the fierce Indians, and they were also clients who could ensure his glory.
Caught in the social life of the East, he became obese and almost impotent. He began at that point his career as a sculptor. He was the best interpreter of the riders on their fiery horses, with magnificent bronzes and also realistic figures of the gallop positions as proved to artists by Muybridge's experiments.
From 1901 his work for Collier's became steady. When Remington died in 1909, the magazine still had sixteen of his paintings ready to be published.
Painted in 1908, 'Cutting out pony herds' shows the US cavalry guiding a herd of Indian horses away from their camp. This oil on canvas 60 x 100 cm was published by Collier's in 1913. It is estimated $ 5M, for sale on July 27 in Reno by The Coeur d'Alene Art Auction.
POST SALE COMMENT
This painting was sold exactly at its lower estimate, $ 5 million before fees.
The image is shared post sale by Auction Central News.
1911 The Breath of Horses
2017 SOLD for $ 12.7M including premium
In 1909 Wassily Kandinsky described his inspiration by three categories : Impression, Improvisation, Komposition. This excessively theoretical approach should not obscure the fact that his great jump forward was to highlight the expression and confrontation of the colors while minimizing the line.
In January 1911 Kandinsky was enthralled by the music of Schönberg heard in a concert. He will now endeavor to express through his painting a universal and pantheistic feeling with a rhythm which is equivalent to a breath. For that purpose he no longer needs a narrative excuse nor a perspective and he also eliminates the graphic consistency between lines and colors.
On November 13 in New York, Christie's sells an example from this new experimental phase. Titled Improvisation mit Pferden (Studie für Improvisation 20), this oil on canvas 71 x 99 cm painted in 1911 is estimated $ 9M, lot 9 A.
The lyrical breath is assured by the primordial force of the diagonal rising from lower left to upper right. The figures are more or less identifiable : horses, a blue and yellow couple, a tower, a row of trees. The powerful rising flow is disturbed by a thick semi-circular black line with zigzag.
The final version 95 x 108 cm titled Improvisation 20 (Zwei Pferde) retained the diagonal and the zigzag, with solid colors. Appearing as a mere detail in comparison with its Studie, it does not offer the same amplitude but is indisputably one of the ultimate stages before pure abstraction.
In January 1911 Kandinsky was enthralled by the music of Schönberg heard in a concert. He will now endeavor to express through his painting a universal and pantheistic feeling with a rhythm which is equivalent to a breath. For that purpose he no longer needs a narrative excuse nor a perspective and he also eliminates the graphic consistency between lines and colors.
On November 13 in New York, Christie's sells an example from this new experimental phase. Titled Improvisation mit Pferden (Studie für Improvisation 20), this oil on canvas 71 x 99 cm painted in 1911 is estimated $ 9M, lot 9 A.
The lyrical breath is assured by the primordial force of the diagonal rising from lower left to upper right. The figures are more or less identifiable : horses, a blue and yellow couple, a tower, a row of trees. The powerful rising flow is disturbed by a thick semi-circular black line with zigzag.
The final version 95 x 108 cm titled Improvisation 20 (Zwei Pferde) retained the diagonal and the zigzag, with solid colors. Appearing as a mere detail in comparison with its Studie, it does not offer the same amplitude but is indisputably one of the ultimate stages before pure abstraction.
Christie's prépare la vente d'une #collection européenne fin 2017 https://t.co/BpMV1mGnNo @artdaily #AvantGarde #ArtModerne #Bijoux #Design pic.twitter.com/apHITK96W2
— Christie's Paris (@christiesparis) July 26, 2017
1912 Drei Pferde, gouache on card by Franz Marc
2018 SOLD for £ 15.4M including premium by Christie's
#AuctionUpdate ‘Drei Pferde’ by #FranzMarc achieves £15,421,250, more than 4 x the high estimate, making a new #WorldAuctionRecord for the artist. pic.twitter.com/Zk9zGc2j8G
— Christie's (@ChristiesInc) June 20, 2018
1918 Piegans by CM Russell
2005 SOLD for $ 5.6M including premium by The Coeur d'Alene Art Auction
1932 Modern Art under the Skyscrapers
2017 SOLD for HK$ 105M including premium
At the turn of the 1930s the big event in Manhattan was the construction of the Chrysler Building and of the Empire State Building which forever changed the look and feel of New York City and triggered the development of a new art.
Created in 1929 by Mrs Rockefeller and two of her friends, the Museum Of Modern Art has a difficult start due to local reluctance to changes. Moving to more spacious premises the MoMA plans a new inauguration in May 1932 with an exhibition titled Murals promoting American painters and photographers.
Six weeks before the great re-opening each invited artist is required to create a large size painting and a triptych. The Chinese-born American Yun Gee aged 26 is the youngest of the selected artists.
It was a good choice : painter, musician and dancer, Yun Gee had been in contact with the avant-gardes, first in the Chinatown of San Francisco and then in Paris before he settled in New York in 1930. Taking advantage of this multiple culture he sought to develop a total art mixing expressive colors and movement and embracing past and future to define the new life.
The triptych made for the MoMA was sold for HK $ 10.8M including premium by Sotheby's on October 5, 2014.
The masterpiece of Yun Gee is his other work for the MoMA, oil on canvas 214 x 122 cm titled Wheels: Industrial New York. Wheels means the circles of human activities turning into vertigo under the skyscrapers.
Yun Gee's surrealist synthesis of the avant-gardes around his belief in progress makes Wheels a tour de force. The abundance of the activities is displayed in an expressionist style, the shaking of the perspectives is cubist, the circular merry go round of the polo team in the foreground is futurist, the warm colors are fauvist under a haunting sun and the theme is by itself constructivist.
Kept until now in the artist's family, Wheels: Industrial New York is estimated HK $ 80M for sale by Sotheby's in Hong Kong on September 30, lot 1017. Please watch the video shared by the auction house in which the CG technology promoted by Sotheby's for new visual effects highlights the expression of movement in the composition.
Created in 1929 by Mrs Rockefeller and two of her friends, the Museum Of Modern Art has a difficult start due to local reluctance to changes. Moving to more spacious premises the MoMA plans a new inauguration in May 1932 with an exhibition titled Murals promoting American painters and photographers.
Six weeks before the great re-opening each invited artist is required to create a large size painting and a triptych. The Chinese-born American Yun Gee aged 26 is the youngest of the selected artists.
It was a good choice : painter, musician and dancer, Yun Gee had been in contact with the avant-gardes, first in the Chinatown of San Francisco and then in Paris before he settled in New York in 1930. Taking advantage of this multiple culture he sought to develop a total art mixing expressive colors and movement and embracing past and future to define the new life.
The triptych made for the MoMA was sold for HK $ 10.8M including premium by Sotheby's on October 5, 2014.
The masterpiece of Yun Gee is his other work for the MoMA, oil on canvas 214 x 122 cm titled Wheels: Industrial New York. Wheels means the circles of human activities turning into vertigo under the skyscrapers.
Yun Gee's surrealist synthesis of the avant-gardes around his belief in progress makes Wheels a tour de force. The abundance of the activities is displayed in an expressionist style, the shaking of the perspectives is cubist, the circular merry go round of the polo team in the foreground is futurist, the warm colors are fauvist under a haunting sun and the theme is by itself constructivist.
Kept until now in the artist's family, Wheels: Industrial New York is estimated HK $ 80M for sale by Sotheby's in Hong Kong on September 30, lot 1017. Please watch the video shared by the auction house in which the CG technology promoted by Sotheby's for new visual effects highlights the expression of movement in the composition.
1951 The Expulsion of the Horse
2016 SOLD for $ 4.45M including premium
In his childhood Marino Marini admired the heroes of the equestrian statues from Marcus Aurelius up to the condottieri by Donatello. He regarded them as promises for a new civilization and they became one of the preferred themes of his art.
The first groups made by Marini were quiet and dignified. When Picasso required to Guernica's horse to howl against the war, Marini understood and followed. After the first kicks, the balance between his horses and their riders became precarious and even impossible.
The horse is expelled from the post-war world by the car, with no hope for a return. Marini is horrified by his visit to New York in 1950. His version of the Cavaliere realized in 1951 is a prophecy of the fall of the modern world into a universal catastrophe similar as Sodom and Pompeii.
This group 1.22 m high is spectacular and tragic. The horse seems strong by his steady position on his four legs but he is screaming like in Guernica. The rider has lost any control. He is leaning backwards in stiffness and his arms are raised in a derisory gesture.
A Cavaliere in chiseled bronze with a brown and gray patina cast before 1953 by Battaglia in Milan is estimated $ 4M for sale by Christie's in New York on November 16, lot 4 B. Another copy with a brown and gold patina was sold for £ 4.5M including premium by Christie's on October 14, 2010.
The first groups made by Marini were quiet and dignified. When Picasso required to Guernica's horse to howl against the war, Marini understood and followed. After the first kicks, the balance between his horses and their riders became precarious and even impossible.
The horse is expelled from the post-war world by the car, with no hope for a return. Marini is horrified by his visit to New York in 1950. His version of the Cavaliere realized in 1951 is a prophecy of the fall of the modern world into a universal catastrophe similar as Sodom and Pompeii.
This group 1.22 m high is spectacular and tragic. The horse seems strong by his steady position on his four legs but he is screaming like in Guernica. The rider has lost any control. He is leaning backwards in stiffness and his arms are raised in a derisory gesture.
A Cavaliere in chiseled bronze with a brown and gray patina cast before 1953 by Battaglia in Milan is estimated $ 4M for sale by Christie's in New York on November 16, lot 4 B. Another copy with a brown and gold patina was sold for £ 4.5M including premium by Christie's on October 14, 2010.
1955 The Noblest Conquest of Marino Marini
2011 SOLD 4.2 M£ including premium
Marino Marini expressed the frenetic and violent relationship between horse and rider through a series of expressive sculptures in various attitudes.
On May 8, 2007, Sotheby's sold $ 7M including premium a polychrome wooden statue 2.16 m high, made in 1956, unique in this material, entitled L'Idea del Cavaliere. Taking this artwork as a reference in a previous article, I described it as follows: "Here the man is mastering the beast, but this one, neck stretched upwards, utters a roar worthy of a character in Guernica."
On February 8 in London, Sotheby's sells a bronze of the same model, 2.20 m high, dated from the previous year, 1955. Painted in red by the artist, this copy of an edition of four is estimated £ 3.7 M.
Meanwhile, on October 14, 2010, the art market has confirmed Marini's riders as one of the most important series in modern sculpture, when Christie's sold £ 4.5 million including premium a chiselled bronze of 1951, only 1.18 m high but in a superb position with the rider on his back hand.
POST SALE COMMENT
The result, £ 4.2 million including premium, is in line with the two prices that I referenced in my article. Marini strengthens his position as one of the top sculptors of the twentieth century.
On May 8, 2007, Sotheby's sold $ 7M including premium a polychrome wooden statue 2.16 m high, made in 1956, unique in this material, entitled L'Idea del Cavaliere. Taking this artwork as a reference in a previous article, I described it as follows: "Here the man is mastering the beast, but this one, neck stretched upwards, utters a roar worthy of a character in Guernica."
On February 8 in London, Sotheby's sells a bronze of the same model, 2.20 m high, dated from the previous year, 1955. Painted in red by the artist, this copy of an edition of four is estimated £ 3.7 M.
Meanwhile, on October 14, 2010, the art market has confirmed Marini's riders as one of the most important series in modern sculpture, when Christie's sold £ 4.5 million including premium a chiselled bronze of 1951, only 1.18 m high but in a superb position with the rider on his back hand.
POST SALE COMMENT
The result, £ 4.2 million including premium, is in line with the two prices that I referenced in my article. Marini strengthens his position as one of the top sculptors of the twentieth century.
