Workshop of Antonio Canova (1757-1822) Italian, Rome, circa 1820

The Marquese de Salamanca, Palaciode de Anglada, Madrid
Probably sold circa 1878 from the Paris collection of the Marquesa de Salamanca at Hotel Drouot
Collection of Fernandez de Villavicencio

Pedro Navascués Palacio, Un Palacio Romántico: Madrid 1848-1856, Madrid 1983

Overall the condition of the marble is very good. There is some minor wear consistent with age and the marble has been subject to a professional clean. There are a few minor surface inclusions consistent with the material. There is some natural veining in the marble as visible in the catalogue photograph. There are some minor chips to the base and the left side of the knot of hair to the back of Venus' head.
"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."

This life-size neoclassical marble group depicts Adonis bidding his farewell to Venus just before he leaves for the hunt that would lead to his demise. The sculpture is a perfected version after an original by Antonio Canova and may have been carved by Rinaldo Rinaldi, Canova's favourite pupil, when the original was back in the artist's studio in 1820. Canova was not completely happy with the original composition of the first group. After the death of the owner he had the group returned to his studio in Rome for alterations to the entire surface and the addition of a fig leaf, which he worked on for a month without pay. The improvements are incorporated in this marble. The slightly different pose and treatment of the hunting dog at the rear of the present marble are reminiscent of the marble hound thought to be by Rinaldi that was sold in Rome on the 6th of February 1899 (no. 411).

The composition of this group represents the most personal vision of Antonio Canova as he was already carving the marble original before it was purchased by the Marchese di Salza. The group was finished in 1794 and from letter of Antonio d'Este, Canova's chief assistant, it is clear that the group had been eagerly anticipated: 'your Canova has finished the group of Venus and Adonis. In the coming week it will be on show for all to see. Oh what a group! What a group!'

As it happened even Canova found the marble's reception at the Marchese's palace surprising: 'I will tell you that my group caused such an uproar in Naples, that during that time we had to close the little temple in which it was because too many people were going there. They made speeches, poetry and other discourses.' For the occasion the King of Naples waived all customs duties due on sculptures since he considered the work a considerable adornment to his city.

Upon the death of the Marchese di Salza Canova had the original group returned to Rome for the mentioned alterations. It was purchased there in 1820 by the Swiss collector Guillaume Favre who installed the sculpture in his library at the Villa La Grange in Geneva, where it remains to this day.

RELATED LITERATURE
Canova, exh. cat. Museo Correr and Gipsoteca Canoviana, Venice 1992, pp. 242-249, no. 123; O. Stefani, Antonio Canova. La statuaria, Milan 1999, pp. 59-61, no. 2; G. Hubert, La Sculpture dans l'Italie napoleonienne, Paris 1964, pp. 470-471; E. Bassi, La Gipsoteca di Possagno, Venice 1957, pp. 89-92, nos. 64-66