Ercole Rosa

Alfonso Panzetta, Dizionario degli scultori italiani, vol. II, Adarte, 2003, pl. 1616

Overall in good condition and presentation. The marble surface with traces of dirt consistent with handling that can easily be cleaned. Minor scratches and nicks to surface consistent with age. Please note that this sculpture comes with a red veined marble pedestal, not illustrated in the printed or online catalogue. This associated pedestal is lacking its square revolving top. The sculpture sits on a circular base which is then raised on a two foot tall baluster-shaped circular white marble pedestal. All edges show extensive chips. Tip of left wing with a loss of approx. 3". Cupid missing middle and pinky fingers to right hand.
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.

Ercole Rosa was born into a poor family in the Marche region of Italy. His father was a stone-cutter who supplemented his income by fashioning crib figures out of terracotta. Rosa first experienced sculpture while helping his father at this work. He moved to Rome to study sculpture in 1858, and in 1874 won the competition for the commission of a monument to the Cairoli brothers. With the completion of this monument Rosa became a leading figure in the Roman art world, and his reputation spread across Italy resulting in various important commissions, including the monument to Vittorio Emanuele Secondo in the Piazza del Duomo, Milan.

His work combined Italian verismo techniques with Romanticism. In his early days of study, he made copies after the Antique and was possessed of what Vicario has called "an extraordinary technical ability," evident in the present model with its layers of net from which Cupid struggles to free himself. As well as the large-scale public sculpture, Rosa was well-known for his allegorical, genre, and portrait subjects.