Giuseppe Mazzuoli (1644-1725), Italian, Rome, early 18th century

Overall the condition of the marble is good. There is some minor wear consistent with age and dirt throughout There are a few natural inclusions, notably in the veil over the face. There is a loss to the tip of the bow above left hand. Two toes of proper right foot are restored.
"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."

In 2007 Dottsa. Monika Butzek published a bronzed and gilded terracotta model of Veiled Love. Now in the Istituto Statale d'Arte 'Duccio di Buoninsegna', it passed from the late 18^th century collection of Giuseppe Galgano Livi to Giuseppe Ciaccheri and subsequently to the collezione Livi at the Accademia di Belle Arti in Siena. In the late 18^th century this terracotta was attributed to Gianlorenzo Bernini.  However, Butzek attributes the terracotta to Bartolomeo Mazzuoli, drawing on Carlo Sisi's convincing attribution of a related terracotta putto in the Chigi Saracini collection to him.

Nearly twice the size of the terracotta, the present marble has been recently attributed to Giuseppe Mazzuoli by Butzek (independent expertise). It reveals a fascinating insight into the interrelationship between Giuseppe and Bartolomeo.  For Butzek the expression of the marble Cupid is more serious and more characteristic of Giuseppe.  However, the most conclusive proof for the proposition that Giuseppe invented the figure and Bartolomeo copied it is the 1767 inventory of the Mazzuoli bottega which records '8. Un Cupido in creta, originale del sudetto Giuseppe' and '5. Un Cupido in creta, copia di Bartolomeo Mazzuoli, figlio del sudetto Gio.Antonio Mazzuoli'.

RELATED LITERATURE
M. Butzek, 'Die Modellsammlung der Mazzuoli in Siena', Pantheon, XLVI, 1988, pp.75-102
M. Butzek, Scultura barocca Studi in terracotta dalla bottega dei Mazzuoli, Milan 2007, no.11, p.46-47