Workshop of Antonio Canova (1757-1822) Italian, Rome, early 19th century

Overall the condition of the marble is good with minor dirt and wear to the surface consistent with age. There appears to be some weathering to the surface as a result of being outside. There are a few losses to the drapery, including to the front on the proper right side and to the back on the proper left side. There are a few small naturally occurring inclusions and a small abrasion to the chin. There are chips to the socle and a few naturally occurring inclusions. The bust is slightly unstable on the socle and the socle may be associated.
"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."

Beatrice, the beloved of Dante, is an example of the ideal heads (testi ideali) which Canova created in his quest for the representation of ideal beauty. The gentle inclination of the head and the supple movement of the folds of the figure's veil exhibit the rhythms of elegance, grace and poised movement for which Canova's works are known.

First modelled in plaster in 1818 (now in Possagno), the first autograph marble version of Beatrice was given to Canova's friend, Count Leopoldo Ciconara, and his wife, Lucia Fantinati, in gratitude for their work on the artist's biography in the Storia della Scultura. In a letter to Ciconara, dated 18 April 1818, Canova remarked that with the Beatrice, he had created a new style of ideal head, not seen before in any classical precedents or his own previous completed works.

Canova's pleasure in the composition is evident by the production of other versions of the sculpture between 1819 and 1822. Cicongnara (op.cit.) records a marble Beatrice made for Cavalier Stephan Szechevj of Vienna in 1819, which by 1936 was in the castle Negycenk. Quatremère de Quincy (op.cit) refers to a bust in the collection of Count Rasponi, Ravenna but Hugh Honour noted (from written communication) that this third bust is an error perpetuated by later writers. Hubert (op. cit) further mentions a marble in the Museum of Archangelo, formerly the Youssoupov castle.

RELATED LITERATURE
Leopold Cicongnara, Biographia di Antonio Canova, Venice, 1823, pp.69-70; Antoine Quatremére de Quincy, Canova et ses Ouvrages ou Memoires Historiques, Paris, 1834, p.317; Vittoria Malamani, Memoire del Conte Cicongara tratte dai Documenti Generali, Venice, 1888, vol.II, p.193; Vittoria Malamani, Un'amicizia di Antonio Canova (Lettere del Canova al Conte Cicognara), Citta di Castello, 1890, pp.155,158,166,168; Gerard Hubert, La Sculpture dans l'Italie Napoléanienne, Paris, 1964, p.474, no. 16; Elena Bassi, Antonio Canova a Possagno, Treviso, 1972, p.93, no. 235; G. Pavanello and Mario Praz, L'Opera completa del Canova, I Classici dell'Arte, Milan, 1976, nos. 289, 290, 338; Fred Licht, Canova, New York, 1983, pp.126-130; Gian Lorenzo Mellini, Canova. Saggi di Filologia e di ermeneutica, Milan, 1999, pp.139-146