signed: Romanelli, Florence
white marble, on a serpentine marble column
marble: 104cm., 41in.
column: 94cm., 37in.
Overall the condition of the marble is very good with minor dirt and wear to the surface consistent with age. The marble has a beautiful original surface which is well preserved. There is minor natural veining to the marble consistent with the material. There are a few minor naturally occurring inclusions to the marble. There are a few minor chips including to the edges of the base and to some of the flowers and foliage (including one at the pubis). There are minor abrasions to some of the flowers and foliage including at the back. Dirt marks to some of the high points. General wear, including minor abrasions, a few chips and paint marks, to the column which is otherwise in good condition.
"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."
Raffaello Romanelli came from a distinguished line of sculptors. His father was the Florentine sculptor Pasquale Romanelli, who achieved an international reputation for his finely carved mythological and biblical marble figures. After Pasquale's death in 1887, his son Raffaello and grandson Romano continued his legacy which lives on to the present day; the Romanelli studio (now a private museum) remains one of the few working studios in Florence. Raffaello was not only a frequent exhibitor at the Italian salons, but had an equally important clientele in Paris and London. The inscription of 'Florence' in the present lot, as opposed to the Italian 'Firenze' indicates the marble to have been intended for the international market. With its intricate flowers and leaves rising up from the base and refined details, including the delicate bird perched on the nymph's arm, the present marble is a clear example of Raffaello's outstanding skill as a sculptor.
A. Panzetta, Nuovo dizionario degli scultori italiani, Turin, 2003, p. 782