Attributed to Antonio Maria Maragliano (1664-1739) Italian, Genoa, early 18th century

Figure with a green robe: there are visible plugs, such as three to the woman's proper right hip and there is a small nail in the drapery on her proper right thigh. The cherub's right lower arm has been reattached. The tip of the middle finger of his proper right hand has been reattached. There is a loss to the patina to the lower right of the torch and to the lower right ground. There are losses to the leaves in the woman's hair and two have been reattached on her proper left side. The tip of the cherubs second toe on his proper left foot is lost. There are some cracks in the patina and some stable splitting to the wood. There is some very minor stable worming. Otherwise the torchère is in good condition overall, with dirt and wear to the surface consistent with age. Figure with a red robe: the cherub's index finger of his proper right hand has been reattached. There is some restoration to the underside of his proper right thigh. One of the leaves in the woman's hair has been reattached. There is a loss to the ball of the woman's proper left foot and further smaller losses throughout. There is stable splitting to the wood and losses to the patina. There is some very minor scattered worming. Otherwise the torchère is in overall good condition, with dirt and wear to the surface consistent with age.
"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."

The present torchères are decorated with two figures accompanied by two naked putti, all of whom balance precariously in motion while billowing drapery envelops them. This dynamic sense of movement combined with the remarkable animation of colour characterise the defining sculptures of Italian wood-carver, Antonio Maria Maragliano. Maragliano found fame and success in seventeenth century Genoa for his monumental groups, carved with intense theatricality and expression. He employed specialist polychrome painters to finish his models with an exultantly vibrant and dramatic effect. The fame of his technique and prolific output of his workshop reached as far as Spain, where Maragliano was commissioned to produce designs for the sterns of the King’s ship.

The present torchères compare well with Maragliano’s Madonna del Rosario, in the parish church of San Desiderio, Genoa, illustrated by Pagano (op. cit. p. 258, fig. 357). The drapery falls in thick, uneven folds while the postures of the figures are neither uniform nor balanced. The faces are carved in a delicate manner, with soft features, but with boldly striated hair and curls: their placid expressions contrast with their more animated movement. The composition is similar to Maragliano’s Annunciation, in the oratorio del Cristo Risorto, Savona: in this, the Angel Gabriel is similarly supported by gesturing putti, who balance on a cloud formation, as the equivalent of the rocky terrain in the present sculpture (see Pagano, op. cit. p. 268, fig. 375).

RELATED LITERATURE
F. Pagano (ed.), La Scultura a Genova e in Liguria. Dal seicento al primo novecento, Genoa, 1987, vol. ii, pp. 258, 265-270