Silverio Martinoli Italian, active mid to late nineteenth century

There is evidence of weathering to the surface of the marble, resulting in some loss to the surface detail. There are a few visible veins which are naturally occurring, one running across the elder child's back to the mother's proper right knee. The elder child's cap is carved in original separate section and there is restoration to the caps brim and the strap under the child's chin. There are some areas of plaster fill including several to the elder child's back. There is a reattached section to the base between the legs of the chair. There is dirt to the surface, in particular in the crevices.
"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 marble can probably be identified as the group exhibited by Martinoli first in Naples in 1877 and then in Turin in 1878. Martinoli followed the verismo school and was well known for his genre subjects. The present marble is typical of verismo work, not only in its extraordinary technical skill, but also in taking an everyday subject and imbuing it with a particular grace and sweetness.

The sculptor has created an impression of lightness in the large stone group by his masterful deep undercutting in the stool and footstool. The casual folds of drapery, falling from the mother's shoulder and tucked in at the stool, add to the delightful sense of informality. Martinoli has wonderfully captured a tender and intimate moment: the mother turns aside from her book to devote her attention to her two children, caressing the toddler's curly head while she suckles the baby at her breast.

RELATED LITERATURE
A. Panzetta, Nuovo Dizionario degli Scultori Italiani, Turin, 2003, p. 572