A pair of Italian verde antico, giallo antico, paragone, lapis lazuli and red marble Blackamoors in the late 17th/early 18th century manner

one in the form of a male with a beard, shirt and drapery, the other as a female with a feather in her cap, a scarf around the neck, and a bodice

Aveline Rossi, Paris;
Sold Sotheby's, London, 6th December 2006, lot 42.

In overall good conserved condition. Attractive detail and choice of stones. Colour overall less orange and more natural an attractive than in the catalogue photograph. Old minor marks and chips. Both have been restored but this has been well executed eg hat of one top left front of his cape, collar and tassel shows varnish. The female also has restorations to the hat and costume and neckerchief.
"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."

Comparative Literature:
Andrea Bacchi, The Sculpture in Venice from Sansovino a Canova, Milan, 2000, no. 226;
Trinity Fine Art and Carlo Orsi: An Exhibition of European Works of Art at Adam Williams Fine Art, 17th -25th April 2002, no. 23, p. 50.  

These busts constituted important decorative components of the residences of 18th and early 19th century connoisseurs, demonstrating not only their owner's taste but also their cultured and extensive travels. The workshops normally produced them as pendants, utilising whatever semi-precious marbles were available.

The attention to detail on the clothing and headdress on this impressive pair of blackamoor busts is reminicent of the work of the North Italian sculptor, Santi Casarini. An example of one of his blackamoor busts was exhibited and is illustrated in the Trinity Fine Art Catalogue, op. cit., p. 50, no. 23. It was originally one of a group of four which adorned Luchino Viscont's villa in Milan. The illustrated bust is of a a male blackamoor, however, one of the group, a woman, was signed by the sculptor.

There are scant details about the sculptor's life and career, but it is known that he was active in Lombard-Veneto towards the end of the 17th century. His skills both as a sculptor and his lively use of coloured marble makes the illustrated bust almost lifelike which is the same feeling one has when considering the offered busts.

Another blackamoor bust worth considering is the one in the Saint Louis Museum by Melchior Barthel, Dresden (1625-1672), illustrated by Bacchi op. cit., n. 226. For information on the life of Barthel, see p. 692.