Circle of Antonio Raggi (1624-1686) Italian, Rome, second half 17th century

Overall the condition of the marbles is good, with minor wear and dirt to the surfaces consistent with age. Two of the fingers of Sight's proper right hand have been reattached and the little finger on the same hand has been restored. Four of the toes of Sight's proper left foot are either reattached or restored. Touch's proper right arm has been reattached at the elbow. Three of the fingers of Touch's proper right hand have been reattached (the little finger in two parts), and the ring finger of the same hand is lost. There is a loss to the little finger of Touch's proper left hand. There is a small circular hole with some metal fill to Sight's lower back. There is some wax to both surfaces. There is some light veining to the marble consistent with the material, including to Touch's proper right leg, arms and back, and to Sight's proper right thigh and proper left shoulder. There are a few small naturally occurring inclusions to the marbles, including to Sight's proper right leg and back, and to Touch's hair at the front, proper right knee, proper right shoulder, and proper left elbow. There are a few minor scratches and a few very minor chips and abrasions, including to the edges of the foliage. There are a few chips and abrasions to the edges of the grey marble bases and a few scratches along the sides.
"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."

These expressive marble putti are imbued with the drama of the Roman baroque. Their poses, together with the high quality of the carving, drilling and deep undercutting, indicates that they were executed by a sculptor working in the wake of Gian Lorenzo Bernini (1598-1680). They find close parallels in the work of Antonio Raggi, who initially trained with Alesssandro Algard, but became one of Bernini's leading assistants, responsible for the Danube from the master's Four Rivers Fountain in the Piazza Navona. Compare the face of Touch in the present pair of groups, together with the overall focus on tactility in both groups, with Raggi's Eros and Anteros in the Galeria Estense in Moderna (circa 1645). Also note the putto in Raggi's stucco Personification of Papacy and Empire (Marburg Index no: bhim00013908). In terms of concept - of seated putto wrestling with a snake - compare also with Ercole Ferrata's Infant Hercules group sold in these rooms on 9 December 1987, lot 176. Ferrata, another assistant of Bernini, likewise presents a seated putto with expressive pose, but in a more classical mode, akin to the work of Alessandro Algardi, with whom Ferrata worked later in his career. With their beautifully carved naturalistic settings, and the variation of surface textures, these pendant groups represent a dramatic and impressive baroque offering.

RELATED LITERATURE
O. Ferrari and S. Papaldo, Le sculture del Seicento a Roma, Rome, 1990, pp. 112, 114-115, 281, 310, 491