Odoardo Fantacchiotti

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, including to the proper left temple and to the back. There is some minor veining to the marble consistent with the material, including at the proper left leg. There are minor chips and abrasions to the bottom edge of the marble.
"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."

Odoardo Fantacchiotti is renowned for his refined marbles which revived Renaissance-inspired subjects in the Neoclassical period. These skills are highlighted in a low-relief carving of the Virgin and Child in the collection of the Victoria & Albert Museum (inv. no. 7582-1861). So impressive was his technique that it was initially thought the relief may have been by Donatello when the museum purchased it from a private collection. It was suggested at the turn of the century that it postdated the Renaissance, and Sir John Pope-Hennessy later attributed it to Fantacchiotti’s hand.

Fantacchiotti specialised in sculptures of young children, and the serenity of the present marble reflects his passion for this subject matter. He attended the Accademia in Florence and trained under Stefano Ricci, who was a follower of Canova and Thorvaldsen. As his artistic career developed, Fantacchiotti became known as a master in conveying emotion through the medium of sculpture.

RELATED LITERATURE
M. Jones, Fake? The Art of Deception, London, 1990, p. 197