WORKSHOP OF LORENZO BARTOLINI (1777-1850)
ITALIAN, 19TH CENTURY
AFTER TITIAN (1488/90-1576)
VENUS OF URBINO
33 by 86cm., 13 by 33⅞in.
Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There appears to be a light wax to the surface giving it an attractive sheen. There is a well-concealed reattachment at the proper right big toe. There is light natural veining to the marble, including at the chest, where there are a few very minor areas of white overpaint. There are a few small naturally occurring inclusions to the marble, some with fill, such as at the proper left shin. There are a few minor chips and abrasions to the edges and corners of the bed.
"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."
This finely carved marble figure is carved after one of the most famous paintings in the world, Titian's Venus of Urbino (1543) in the Galleria degli Uffizi. The present group appears to have been made by the same hand as the preceding lot, Dirce from the workshop of the Florentine sculptor Lorenzo Bartolini. John Kenworthy-Browne has noted that Bartolini carved a lifesize version of Titian's Venus of Urbino, now in the One&Only Ocean Club, Paradise Island, Bahamas (op. cit.). An attribution to the Bartolini workshop for the present marble therefore seems justified, especially given the high quality of the carving.
S. Bietoletti, A. Caputo and F. Falletti, Lorenzo Bartolini atti delle giornate di studio, exh. cat. Galleria dell'Accademia, Florence, 2013, p. 56, fig. 12