Attributed to Odoardo Tabacchi

V. Vicario vol. 2, pp. 1005-1014

A. Panzetta vol. 2, p. 262

M. de Micheli pp. 137-140

V. Terraroli p. 215

Overall in good condition. The sculpture is dirty and could easily be cleaned. Some very minor chips in places, mostly to the wings. Pitting to surface in places and scratches throughout consistent with age. Three toes to left foot have been broken and are now restored but still show restoration seams. There is an area of gray plaster to the bottom third of the left wing which might be a restoration. Overall with minor chips to floral garlands on pedestal.
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.

Although unsigned, the present outstanding marble of a seated angel can be securely attributed to Tabacchi on the basis of its stylistic affinities with one of his seminal compositions Ugo Foscolo after the treaty of Campoformio (1867, Galleria d'Arte Moderna, Rome).  A work from Tabacchi's early maturity, Foscolo is shown seated with an intense expression reflecting the magnitude of his concern over the treaty.  The deeply set eyes, straight nose, broad forehead, firm cheeks and pouting lips are identical in the fasces of Foscolo and the present angel.  In addition, the long expressive fingers are utilized in both compositions to emphasize the strong emotion of the subject matter.  Moreover, the present Seated Angel epitomizes Tabacchi's technical virtuosity in handling marble.  Vicario and Terraroli both comment on Tabacchi's preference for highly polished skin surfaces which is perfectly realized in the Seated Angel.  This soft approach to skin is contrasted by a highly textured treatment in the drapery, hair and whings which creates great drama and realistic detail. 

The arms which decorate the cartouche on the elaborately carved base can be identified with the Royal House of Savoy.  It is important to note in connection with Tabacchi's royal commissions that he executed a bust of Amedeo of Savoy for the Palazzo del Municipio in Moncarlieri.  Tabacchi seems to have been fascinated by the theme of angels.  He executed Angel of Justice and a Guardian Angel for the Ponti di Gallarate mausoleum in Varese.  The context of the present Seated Angel is unclear, but the presence of the arms of Savoy indicates a royal commission of some importance. 

For many international admirers of Italian nineteenth century sculpture today, Odoardo Tabacchi's fame is largely identified with his novel statue of a young woman about to dive into the water, known as La Tuffolina.  The woman wears a modern (for 1877 at least) one piece swimming costume and with one leg slightly in front she purposefully holds her hands together above her head and leans forward about to take the plunge.  Vaguely amusing and certainly technically accomplished, La Tuffolina is, however, not typical of Tabacchi's prestigious oeuvre.