North Italian, probably 19th century

the face of Alexander VIII probably recarved

purchased by Otto Bernheimer, Florence, circa 1900-1910;
inventory of L. Bernheimer, at Palais Bernheimer, Lenbachplatz, Munich 

Illustrated Bernheimer Archive, circa 1930, unnumbered album, nos 39 and 40 

Overall the condition of the marbles is good, with dirt and wear to the surfaces consistent with age. There is veining to the marbles throughout, consistent with the material. There are a few small naturally occurring inclusions, in particular to Priuli's face and chest. There are several chips and abrasions, including to the high points of the drapery, including one of Priuli's buttons, and to the edges of both truncations and both socles. There are losses to the tip of Priuli's nose and a section of his hat at the top. There is a stable fissure to the marble to the truncation of Priuli on the proper right side at the bottom. There are various dirt marks and residues, notably to the top of Priuli's head and to his nose. Alexander's face is probably unfinished. There are losses to the edges of the scroll decorations at the bottom of each socle, and there is a metal dowel in place of one of these losses on Alexander's socle. There are scratches to the marble on both socles. There is an area with fill, probably due to a vein, to Priuli's socle. The socles are roughly hewn at the back, and there is a possible loss to the back right corner of Priuli's socle. The columns are in good condition, with dirt and wear to the surfaces consistent with age. The griotte marble shafts are veneered, and joints are visible. There are several chips and abrasions to the edges, and a few losses to the corners of the griotte marble shafts. There are also several chips to the monster heads forming the feet.
"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.
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These impressive busts are carved in the grand manner of Baroque portraiture of clerics pioneered by Gianlorenzo Bernini and carried further by sculptors such as Antonio Raggi, Domenico Guidi, and Lorenzo Ottoni. The foremost of the present two sitters is Pietro Vito Ottoboni, better known as Pope Alexander VIII. He is shown here with his coat of arms and the papal tiara on the socle. Ottoboni's papal reign lasted only two years, from 1689 to his death in 1691, so not many portraits of him survive. Despite the oddly finished face the bust bears a clear resemblance to the two documented sculpted portraits of the Pope. Domenico Guidi's nearly half-length version is characterised by a flaring truncation at the upper arms and exists in bronze in the Victoria and Albert Museum (inv. no. 1089-1853) and in a private collection in Rome and in terracotta in the Los Angeles County Museum (inv. no. 47.8.30). More narrowly truncated and somewhat less heroic busts by Lorenzo Ottoni are in the Liebieghaus (inv. no. 209) and the Detroit Institute of Arts. Orazio Marinali supplied the bust for the Pope’s monument in Brescia Cathedral. The other sitter was previously thought to represent Girolamo Priuli, the 83rd Doge of Venice who died in 1567. Aside from the chronological issues and the bust not bearing any resemblance to the Doge, the base is inscribed VESCO, identifying the figure as a bishop. The bust is therefore more likely to represent Gerolamo Priuli, who was Bishop of Hvar (Lesina) in Croatia from 1676 until his death in 1693 and therefore a contemporary of Alexander VIII. Why the coat of arms is topped with a cardinal’s hat is unclear and sadly no further portraits of the bishop are available to verify the likeness. It is not unthinkable that the Ottoboni and Priuli were acquainted when they were cardinals and exchanged favours throughout their careers. The busts may have been commissioned from a sculptor in Hvar or Trieste to honour the two figures.

RELATED LITERATURE
P. Fogelman, P. Fusco and M. Cambareri, Italian and Spanish sculpture, cat. The J. Paul Getty Museum, Los Angeles, 2002, pp. 224-231, no. 28; F. Petrucci (ed.), Papi in Posa. 500 years of papal portraiture, exh. cat. Pope John Paul II Cultural Centre, Washington, 2005, p. 126, no. XXXVII