Austrian or Bohemian, circa 1700

with Reinhold Hofstätter, Vienna, 15 December 1971

The group is a garden sculpture and there is consequently moderate weathering and staining to the surface throughout; considering this, the condition otherwise is good with dirt and wear to the surface consistent with age. There is a large loss to Cupid's proper right foot and one to Venus's proper right nipple. There are a few minor losses, including to the fingers on Cupid's proper right hand. There are smaller chips and wear, in particular to the drapery, to the strap of Cupid's quiver and back of Venus's hair. There are large areas of restoration to the back of Cupid's head and proper right arm and shoulder. There are restorations to Venus's proper left arm and hand and the top of Cupid's head. There are some further possible restorations to Venus's face and drapery, including to below her proper right arm. There are losses and wear to the edges and corners of the base including a larger loss to the base on the left corner, and one to the base at the back right corner.
"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."

This impressive stone group of Venus and Cupid is stylistically and conceptually reminiscent of the work of the celebrated Rococo sculptor Giovanni Giuliani (1664-1744). Giuliani, an Italian, who is believed to have been trained in Venice and Munich, moved to Vienna in 1689, where he created imaginative sculptural schemes for the Viennese elite. Some of his most memorable sculptures still adorn the Liechtenstein Stadtpalais in Vienna, and are characterised by their intrinsic classicism, tempered by flowing Rococo lines. Giuliani's style was hugely influential on the development of Austrian Rococo sculpture, with Georg Raphael Donner (1693-1741) being counted amongst his pupils.

The present group finds a particularly close parallel in another large stone woman and child ensemble, his Pax-Eirene of 1704 in the Liechtenstein Stadtpalais (Ronzoni, op. cit. vol. i, p. 93, fig. 48). Note the similar classicising facial type, the bared chest and the carefully delineated fingers. Another comparison is found in Giuliani's Felicitas Publica, also from the Stadtpalais (Ronzoni, op. cit. vol. i, p. 97, fig. 54).

RELATED LITERATURE
L. Ronzoni, Giovanni Giuliani (1664-1744), exh. cat. Liechtenstein Museum, Vienna, 2005, Munich, Berlin, London and New York, 2005, vol. i, pp. 93, 97, 99, figs, 48, 54, 57, vol. ii, p. 262-263, figs, 146, 147, 148