Vincenzo Gemito

Overall the condition of the bronze is good. There is dirt and wear to the surface consistent with age, including some dirt in the crevices of the beard and a few minor nicks and scratches. There is some dryness to the patina in a few areas, including to the upper chest. There are three small stable cracks to the proper right wing supporting the bust in the interior.
"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."

Gemito's bust of Il Filosofo is one of his most engaging images. Inspired by the dishevelled and angular face of his adoptive father, Francesco Jadicicco, and the antique, this study foreshadows the phyical appearance of the sculptor himself in later life. This combination of ancient and modern sources with a deep personal affinity with his subject is what defines Gemito's style. Il Filosofo's corkscrew curls allow Gemito to show off his consummate skill in casting bronze. The bust was exhibited at the Paris Exposition Universelle in 1900 and three years later at the Venice V Esposizione Internazionale d'Arte.

RELATED LITERATURE
I. Wardropper & L. Licht, Chiseled with a brush: Italian Sculpture 1860-1925 from the Gilgore Collections, Chicago, 1994, p. 90, no. 20; Temi di Vincenzo Gemito, ex. cat. Palazzo Racani Arroni Spoletto, 1989, p. 124, no. 132