Pietro Guarnerio

Overall the condition of the marble is very good. There is a lost section to the necklace and both little fingers of Venus have been reattached. There is some naturally occurring veining to the marble and a few minor inclusions consistent with material. There is a minor chip to the top of the mirror. The marble has been carved in two separate original sections and joined at the woman's hips.
"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."

Pietro Guarnerio studied at the Brera Academy in Milan under Pietro Magni, before embarking on a successful international career. An earlier version of his Vanità was exhibited at the Centennial International Exhibition in Philadelphia in 1876. It caught the attention of Edward Strachan, the author of a catalogue of the exhibition, in its attempt to 'dazzle him by reckless difficulties of manipulation and by the conquered suavity of kneaded marble.' He went on to describe the subject: 'A ball-room belle, whose flesh seems made of swansdown rather than stone, is winding a necklace around her breast, and admiring the jewels in a mirror which a little girl holds admiringly before her... Every touch in the "Vanity" is softened in consonance with the boudoir subject, and the group is rococo – luscious, over-tender and enervated.' Vicario cites a version in the collection of the Koenigsberg Museum in modern day Kaliningrad, which may be indentifiable with the version exhibited in Philadelphia.

The present marble has some minor variations from the Philadelphia version, for example the child here is clothed and there is no cushion at her feet. However, this marble displays all Guarnerio's consummate mastery over his material, as Strachan described it. Glistening beads are threaded through the girls ruffled curls, and the girl's delicate gestures and smooth skin are set against heavy textured draperies which fall to the ground, tumbling over the edges of the base. There is also a particular sweetness in the expression of both figures, heightened in comparison to the Philadelphia version. This appealing life-size marble is an extremely rare appearance of Guarnerio's work at auction.

RELATED LITERATURE
E. Strachan, The Masterpieces of the Centennial International Exhibition, vol. I. Fine Art, Philadlephia, 1876, p.146, illustration p. 136; Vicario, V. Gli Scultori Italiani dal Neoclassicismo  al Liberty, vol. 1, Lodi, 1994, pp. 568-9; A. Panzetta, Nuovo Dizionario degli scultori italiana dell'ottocento e del primo novecento, vol. I,  Turin, 2003, p. 446