Melchiorre Cafà

Heim Gallery, London

Heim Summer 1976, no. 29

Boucher 2001, pp. 212-213, no. 52, (illus.); Sciberras 2006, p. 90, fig. 129; p. 262

Standard surface abrasions. Minor pitting and some very small casting cracks: one around top of angel’s proper right wing, one under his arm and one on his upper arm. A longer casting crack (stable) along her drapery from her proper right wrist (approximately 2 inches). Some gilding rubbed. Should be lightly cleaned. Lovely quality.
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.

Perhaps Melchiorre Cafà's most famous work is his monumental marble Saint Rose of Lima, which was displayed in the church of Santa Maria sopra Minerva in Rome in 1668 before being sent to Lima, Peru.  A terracotta modello for the marble is now in the Museo Nazionale del Palazzo di Venezia in Rome, and the present bronze is one of four known casts of this variant model.  With its finely finished surface and silvered flesh, it was clearly made as a luxurious object for a wealthy patron.  The probable date of this work, in the second half of the 1660s, coincides with the beatification and canonization of the subject, who was the first Saint of the new world and would become the Patron Saint of South America.