ILDEBRANDO BASTIANI | ALLEGORY OF SPRING
Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is some slight natural veining to the marble, including at the proper right hip and at the chest, the proper left thigh, and the proper left shoulder. A few small naturally occurring inclusions, including at the proper left breast and around the proper right shoulder. There are a few very minor chips, including to the flowers.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
A Florentine by birth, Bastiani was a pupil of Augusto Rivalta in Milan before entering the studio of the famous sculptor Cesare Zocchi. His oeuvre is characterised by a typically Italian combination of grand allegorical compositions and more sentimental genre works.
This elegant figure of Spring showcases Bastiani's skill in the texturing of the marble surface, with transparent drapery enveloping the woman's forms.
A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell'Ottocento e del Primo Novecento, Turin, 2003, p. 77