ARISTIDE PETRILLI | Bust of Cleopatra

Overall the condition of the alabaster is good, with some dirt and wear to the surface consistent with age. There is wear to the dark paintwork, including a few areas of loss. There are a few chips, including to the edge of the truncation and to the edges of the base. The alabaster has a brownish hue, particularly at the drapery, which appears to be natural to the material. There is some naturally occurring veining, including dark veining at the proper right shoulder and white veining around the shoulders and to the base. There are a few light abrasions and scratches to the base. There is some whitish residue around the eyes. There are a few small natural inclusions, including at the proper left shoulder.
"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."

Aristide Petrilli studied at the Accademia di Belle Arti in Florence and exhibited at the Paris Exposition Universelle in 1900. Like many sculptors of his milieu, Petrilli specialised in marble busts and female nudes, as well as funerary monuments.  This gripping portrayal of the formidable Cleopatra shows her in the moment leading up to her death. According to the famous story, Cleopatra poisoned herself with a venomous asp, which she clutches here in her right hand. Her brow is creased dramatically as she contemplates the fatal act, reflecting Petrilli's mastery of psychological representation.

RELATED LITERATURE
A. Panzetta, Nuovo dizionario degli scultori italiani, Turin, 2003, vol. 2, p. 690