Pietro Bazzanti

Overall the condition of the marble is good. There is some wear and dirt to the surface consistent with age. There are some naturally occurring inclusions, some of which have been filled, including in the corner of the man's right eye and to the woman's left leg. There are several small restorations to the group. These include the reattachment of the feather on the man's hat, part of the lower decorative border of his tunic on his proper right side, the jewellery in his proper right hand, the crossguard of his dagger and the heel of the man's proper left shoe. The tip of the shoe of the woman's proper left foot and some of her fingers have also been reattached. There are minor chips to the edges of the drapery including the man's cape at the back, the right side of his proper left shoe, and the edges of the base. A larger chip is at the front of the base.
"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 Bazzanti was a central figure in the production of Florentine sculpture at the end of the 19^th century. He is associated with the sculptors Cesare Lapini, Ferdinando Vichi and Guglielmo Pugi, all of whom executed works bearing the inscription Galleria Bazzanti. The gallery, originally Bazzanti's studio, was inaugurated in 1822 and is still open today. The English inscription Florence, suggests the present sculpture was carved for export to England or America. Historicising romantic subjects were very popular in Italian sculpture of the late 19th century. Here a tender narrative is played out – the girl plucks a petal from a daisy, turning coyly away from her lover, whilst he gently turns her towards him to surprise her with the jewelled gift he holds behind his back. The details of Renaissance costume are lovingly recreated with bows, purses, and puffs of linen poking through slashing all carefully picked out.

RELATED LITERATURE
Panzetta, vol. 1, p. 78