GAETANO MANFREDINI | Bacchanal

Overall the condition of the marble is good, with wear and some dirt to the surface consistent with age. There are several chips and minor losses, including to: some of the putti's fingers and toes; some of the leaves on the terrasse and on the putti's wreaths; and several of the leaves and grapes at the top of the tree. There are a few areas of restoration, including to: six of the seated putto's toes and his proper left ankle; the left big toe and the foot support of the flute playing putto (who may have had a now-lost flute); the proper right ankle of the outer dancing putto; the proper right wrist of the inner dancing putto; the proper right wrist and fingers of the putto with the outstretched arms; and the centre of the tree. The marble is composed in sections, and a few stable originals joints are visible, notably at the terrasse. The upper parts of the tree are carved separately and detach; there are joints, with the one at the centre having some minor losses around it. The marble may have been placed outside at some point, as the surface is slightly textured in areas. There is some veining to the marble, consistent with the material, notably to the dancing putti and the back of the putto with the outstretched arms. There are a few small naturally occurring inclusions to the marble. There is minor yellowish residue in areas, notably to the crevices of the tree and foliage. There is wear to the ebonised wood base, including chips around the top edge and several nicks and abrasions. There is some stable splitting to the wood, consistent with the material, and a few slightly open joints. There is evidence of inactive worming, in particular around the bottom.
"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."

Gaetano Manfredini was the eldest son of Luigi, himself a sculptor, medallist, and founder, and was therefore at first trained by his father. He later studied at the Accademia di Brera in Milan. Under the tutelage of Camillo Pacetto, he developed a particular affinity for Roman Neoclassical sculpture. Having first exhibited at the Accademia in 1827 with a statue of Flora, he subsequently received several important commissions, including figures for funerary monuments in Santa Croce in Florence and the Duomo in Milan. However, besides these serious works, Manfredini also established a reputation for the creating of more frivolous, small scale groups of putti in various positions. The present group, with its elaborate display of a Bacchanal, epitomises his skill as a sculptor with these type of groups. A similar marble group is illustrated in Panzetta (op. cit., p. 606, fig. 1117)

RELATED LITERATURE
A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell'Ottocento e del Primo Novecento, Turin, 2003, vol. 2, p. 565, 606, fig. 1117