ITALIAN, EARLY 19TH CENTURY
AFTER THE ANTIQUE
white marble, on a nero portoro marble base
figure: 63 by 57.5cm., 24¾ by 22⅝in.
base: 4.5 by 53.5cm., 1¾ by 21in.
Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is natural veining to the marble consistent with the material, in particular to the hands. There are a few minor chips and abrasions to the edges of the drapery, in particular to the left side around the legs. Further minor abrasions to the lower edges, and a small chip to the drapery around the cushion on the proper right side. There are a few small naturally occurring inclusions, including to the hands and to the edges of the drapery at the legs. Some dirt residues to the terrasse.
There are minor chips to the edges and corners of the nero portoro marble base.
"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 crisply carved marble is a fine Grand Tour reduction of the celebrated Roman Imperial statue from the Farnese Collection, now housed in the National Archaeological Museum in Naples. Known since at least the 17th century and traditionally referred to as Agrippina, the Naples statue is now thought to post-date the 1st century, while a similar marble in the Capitoline Museums in Rome is today said to represent Helena, mother of Constantine, and therefore dated to the 4th century C.E.. The latter model served as inspiration for Canova's portrait of Napoleon's mother at Chatsworth.
F. Haskell and N. Penny, Taste and the Antique: The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 132-134, no. 1