Alexander Macdonald

A. Panzetta, Nuovo dizionario degli scultori italiani, vol. 2, Turin, 2003, fig. 1087

There is wear to the surface, perhaps consistent with slight weathering and the marble has been cleaned. There are some minor inclusions scattered across the surface consistent with the material. There are a few minor chips to the base of the group. There are chips around the edges of the column. The base of the column has a restored break. There are also some dirt and surface scratches to the column.
"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."

Alexander Macdonald was the son of Lawrence Macdonald, 'Scotland's Canova' and one of the foremost British neo-classical sculptors. Lawrence settled in Rome in 1832 and Alexander was born there. Alexander studied in his father's studio and became a successful sculptor himself, following his father's classicising style. He exhibited at the Royal Academy in 1868 and 1878, but continued to be based in Rome. In the present model Macdonald has drawn directly from antique prototypes for his Venus, the goddess's stance with left leg stepping forward and drapery tumbling from the hips closely recalls the Venus de Milo.