Affortunato Gori

Overall the condition of the sculpture is very good. There is some dirt and minor wear to the surface consistent with age. The index- and middle fingers of the proper right hand have been reattached. The marble head is slightly loose.
"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 lively dancer is the best-known of Affortunato Gori's figures. A practitioner of chryselephantine sculpture, Gori revelled in the contrasts of different materials, brought together to add vibrancy to his subject. Here the cool white marble of the girl's skin is set off against the glittering, fluttering drapery in gilt bronze. The vogue for Oriental dances was at its height in the first part of the 20^th century. It has been suggested that Gori's figure may have been inspired by the internationally famous dancer Maud Allan in her role as Oscar Wilde's Salome, originally performed in 1906. The costume, which the dancer designed herself, is certainly closely comparable. 

The Florentine Affortunato Gori was a pupil of Augusto Rivalta. Whilst few details of his life are known, his work appears to have had a wide following. He exhibited a number of times at the Paris Salon between 1904 to 1923.

RELATED LITERATURE
Panzetta, vol. 1, p. 441