1791 - 1847
There is dirt to the surface throughout; the marble would benefit from mild professional cleaning. Otherwise the condition is good, with minor wear consistent with age. There are several small naturally occurring inclusions, including to the neck and the proper right arm, both hips, and at the back.
"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."
Pampaloni's Praying Boy was first executed in plaster in 1826, and commissioned for the funerary monument of Russian noblewoman Anna Potocki's youngest daughter. The model proved immensely popular and was repeated in marble and plaster.
Luigi Pampaloni was a pupil of Lorenzo Bartolini at the Accademia di Belle Arti in Carrara. The present work shows the influence of Bartolini's Neoclassicism on Pampaloni, but also shows Pampaloni's tendency for slightly more naturalistic, romantic genre sculpture. The innocence and sentimentality of the present work is rivalled by the technical mastery in the modeling of the cushion, which is naturalistically rendered with wrinkles and folds, created by the weight of the body on the cushion.