ARISTODEMO COSTOLI | Sleeping Endymion

There is dirt and wear to the surface consistent with age. It is possible that the marble has been in a sheltered outdoor space since the surface is dry with a degree of wear, particularly at the hair. There is veining to the marble consistent with the material. This includes some larger slightly open veins, in particular one which encircles the back and some in the reverse of the base, most of which have been partially concealed by a restorer. There is a vein running from the boy’s face through to the proper left shoulder. There would have been additional pieces of marble at either side of the base, which are lost. There are various dirt marks, some of which may have become engrained into the surface, in particular at the legs. There are some further surface paint and dirt marks, including to the drapery on the proper right side. The proper right fingers are reattached, one in two places. Three of the proper left toes and the proper right big toe are reattached. There are naturally occurring inclusions. There are a few dark patches of veining including one at the abdomen and one at the proper left forearm.
"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."

Aristodemo Costoli studied at the Accademia di Belle Arti in Florence, where he became rapidly successful. In the early 1820s he travelled to Rome to work on the Statue of Menoeceus, the Son of Creon, which was first exhibited in 1830 to great acclaim. According to archival research by Dr Elena Marconi, Costoli is recorded to have first modelled a plaster with the subject of the Sleeping Endymion during his time at the Accademia, and showed it at the institute's annual exhibition of 1825. Further correspondence between Costoli and the Academy indicates that he was hoping to obtain a block of high quality marble in order to sculpt the marble version of the Endymion. It also appears that Costoli already had a buyer interested in the marble, but unfortunately it is not known who his client was.  Stylistically and iconographically, the sculpture fits well within the sculptor's oeuvre as well as the period in which it was conceived. Compare the strands of hair with short curls to a figure on the left side of the monument to Guido Alberto in Santa Maria del Fiore a Lapo in Florence (op. cit., figs. 55 and 56); and further to an angel on the Monument to Henrietta Sanford (op. cit., fig. 34). The subject of Endymion Sleeping was particularly popular in Italy during the Neoclassical period, with Antonio Canova's The Sleeping Endymion (Sculpture Gallery, Chatsworth House) perhaps being the most famous example. 

RELATED LITERATURE
B. Matucci, Aristodemo Costoli, "Religiosa Poesia" nella scultura dell'ottocento, Florence, 2003

An expertise by Dr Elena Marconi is available from the department upon request