Luigi Pampaloni

Christie's, Paris, Ancienne Collection du Baron Hottinguer, 2 December, 2003, lot 22 (as attributed to Lorenzo Bartolini)

L'Ape italiana delle Belle Arti, Rome, 1835

Overall the condition of the marble is good, with minor dirt and wear to the surface consistent with age. There is veining to the marble consistent with the material, in particular including to the boy's back, and some minor veining to the face. There are a few small naturally-occurring inclusions to the marble. There are a few abrasions to the toes and a few chips to the corners of the drape. The fingers and the thumb of the proper right hand are reattached and restored. There are a few small chips and abrasions to the base, bow and quiver. There is a separate painted wood arrow.
"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."

Luigi Pampaloni studied at the Accademia di Belle Arti in Carrara under the tutelage of Lorenzo Bartolini (1777-1850). His work shows an indebtedness to Bartolini, in combining the pure Neoclassicism of Antonio Canova with naturalism and an interest in genre subjects. The present marble is a particularly fine example of Pampaloni's work and is one of a number of charming compositions of kneeling, praying, sleeping and hiding children for which he gained an international reputation following the commission in 1826 of Anna Potocki, a Polish noblewoman, for a funeral monument dedicated to her youngest daughter Julia. The monument consisted of a young girl sleeping and a young boy kneeling in prayer, both of which are now in the Baworowski Library in Lvov, Ukraine. The present sculpture is more light-hearted in its subject, showing Cupid sneaking up behind an unsuspecting victim, his arrow of love hidden behind his back and his finger drawn to his lips, imploring the viewer not to reveal his presence. The plaster model, believed to date to 1833, is held in the Accademia Gallery in Florence (108cm., inv. no. 1234).