Raimondo Pereda

Overall the condition of the marble is good, with minor dirt and wear to the surface consistent with age. There is a loss to the strap of the satchel at the back. There is light surface dirt throughout, and there are a few marks, including minor red and green residues to the hair. There are a few minor chips and abrasions, including to the edges of the book and the borders of the garment, and more notable chips to the bottom edge of the base. There is some veining to the marble, consistent with the material, notably to the bottom of the garment. The grey marble base is separate and not attached; it has some general wear, including a few chips.
"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."

Born in Lugano, Switzerland, Pereda first became active in Lombardy where he studied at the Accademia di Brera in Milan and later became a member of the Swiss Federal Commission of Fine Arts. He exhibited frequently at the main Italian Salons, notably in Torino with La Prima Lezione in 1869, and also participated in exhibitions in London, Switzerland, Paris, Brussels and Munich.

He specialised in genre topics such as that of the present sculpture, and was one of the champions of the verismo movement in fin-de-siècle Italy. His sculptures are characterised by a psychological playfulness and charming intimacy on a high level even by the standards of verismo. The sculptors working in this style believed that their distinctly contemporary subject matter was capable of reinvigorating their medium with new life, which had always been constrained by a long tradition of academic conservatism.

RELATED LITERATURE
J. Mackay, The Dictionary of Sculptors in Bronze, Suffolk, 1997, p. 292; E. Bénézit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, 1999, p. 736; A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell’ottocento e del primo Novecento, Turin, 2003, p. 688