Emanuele Caroni

Alfonso Panzetta, Dizionario degli Scultori italiani, vol. I, Adarte, 2003, p. 204

The marble is dirty with one chip approximately 1/4 inch square to her the right side of her veil; horizontal scratch approximately 2 inches in length to the top of her head; another chip approximately 1/4 inch to the edge of her cape at the back proper left side and a minor chip to the handle of broken vase; the sculpture overall is dirty with traces of black stains in places and would benefit from a cleaning; the figure's eyes have been highlighted with black pencil.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Emanuele Caroni was born in Roncate, Como, and went to the Brera Academy, Milan, completing his studies under Lorenzo Bartolini. His work tended to be funerary or of a genre nature. His works appear to have been retailed by the Barzanti or Bazzanti galleries in Florence. He became politically active, joining the movement for the independence of Italy and took part in the famous 'Five Days of Milan'. He subsequently established himself in Florence, when he became hugely productive, his works being shown in Italy, France and America. For instance his Ophelia took a gold medal at the Paris Salon of 1887, and he exhibited La Prima Gioventu at the Philadelphia Exhibition of 1876, subsequently acquired by the National Gallery, Washington, D.C.