Luca Madrassi

Overall, the condition of the marble is excellent, with minor dirt and wear to the surface consistent with age. There are a few very small chips and abrasions to the edges of the sunflower. There are a few very small naturally occurring inclusions to the marble, including at the jaw, at the proper left arm, and at the abdomen. There is also a group of small inclusions at the proper right hip. There are further small inclusions at the side of the proper left knee.
"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 expressive and finely carved marble shows the water nymph Clytie at the point of changing into a sunflower. The original myth in Ovid's Metamorphoses, referenced here on the base of the sculpture, had Clytie turning into a turnsole, or heliotrope, after mourning the loss of the love of the sun-god, Helios, for nine days. In representations of Clytie, particularly from the nineteenth century onwards, the turnsole was replaced by the more recognisable, and perhaps more romantic, sunflower. Probably the most famous representation of Clytie, formerly in the collection of Charles Townley, is a Roman bust now in the British Museum (inv. no. 1805,0703.79).

Luca Madrassi, although born in Italy, studied at the Ecole des Beaux-Arts in Paris and assumed French nationality. Particularly known for his allegorical and genre sculpture, he exhibited in the Paris Salon from 1887.

RELATED LITERATURE
P. Kjellberg, Bronzes of the 19th Century, Dictionary of Sculptors, London, 1994, pp. 445-446; E. Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, Gründ, 1999, vol. 8, p. 947