Santi Casarini (active late 17th century) Italian, Lombardy, 17th century

Luchino Visconti di Modrone, Milan

Linda Borean e Stefania Mason, Il collezionismo d'arte a Venezia. Il seicento, Venice, 2007, p. 95

Overall the condition of the marble is excellent. There is some minor wear consistent with age. There are some small losses to the naturally occurring veining in some of the marbles. There are some naturally occurring inclusions to the black marble, particularly to the proper right cheek of the male. There are some minor chips particularly to the female's nose and the white marble fixture that holds the drapery at the female's right shoulder. The male has pierced ears but lacks earrings. Some of the material used to join the marbles is visible and there are some filled areas to the back. Two iron rings are added to the backs to mount the busts.
"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."

These two busts were originally part of a group of four in the villa of Luchino Visconti in Milan. The signature reveals they were made by Santi Casarini, an as yet enigmatic sculptor active in Lombardy at the end of the seventeenth century. His command over the coloured marbles proves however that he must have been a master of great talent, capable of creating evocative and lively sculpture.

Busts of blackamoors in varied clothing and headdress carved from multicoloured marbles, alabasters and porphyry became increasingly popular during the seventeenth century (busts of this type appeared in the inventory of Cardinal Richelieu's collection as early as 1643). The contrasting effect of their dark skin with vibrantly coloured drapery resulted in powerfully arresting images that were collected and disseminated throughout Europe by Grand Tourists who visited Italy and particularly Venice. Busts of a a king and queen with plumed head-dresses are in the Wallace Collection (s19 and 20) and a pair of blackmoors were formerly in the collection at Mentmore, sold Sotheby's 27 May 1977, lots 225, 226.

These busts constituted important decorative components of the residences of 18th and early 19th century connoisseurs, demonstrating not only their owner's taste but also their cultured and extensive travels. Sculptors' workshops normally produced them as pendants, utilising the best precious marbles available.

RELATED LITERATURE
Trinity Fine Art and Carlo Orsi, An Exhibition of European Works of Art, exh. cat. Adam Williams Fine Art, New York 2002, p. 50, no. 23