Pietro Tenerani

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There are a few small naturally-occurring inclusions to the marble. There is some minor veining consistent with the material including a very slightly-open vein to the proper left side of the chest. There are a few small chips to the edges, including one to the front edge on the proper right side. There are a few minor abrasions to the back of the hair. There are naturally-occuring inclusions to the socle.
"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."

There is another version of this elegant model by Pietro Tenerani in the Liechtenstein Collection in Vienna (inv. no. SK643), which is signed and dated: P. Tenerani F. 1837, and where it is documented as early as 1841. Tenerani worked in Bertel Thorvaldsen's studio, where he became head of the atelier in his master's absence. He was well acquainted with Antonio Canova and, together with Lorenzo Bartolini, went on to become one of the major proponents of the Tuscan Neoclassical school of sculpture. The present bust blends the classicism of his early work with his later interest in naturalism.