ORAZIO ANDREONI | Rebecca

Sotheby's, London, 11 November 2008, lot 41

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. There is minor veining to the marble, consistent with the material, including a very slight darkish opened vein at the neck. There are some minor dirt marks, including to the neck and to the high points of the headdress at the back. There are a few flecks of paint, including to the proper left cheek. There are a few minor naturally occurring inclusions to the marble. There are a few very small chips to the headdress at the back. A section of the headdress at the back is carved separately, and the original joint is slightly visible. There are a few minor chips and abrasions to the socle.
"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."

Considering the profusion of marble figures and busts carved by Andreoni, it is surprising that more is not known of this enterprising sculptor. Based in Rome, Andreoni sent works for exhibition as far as Glasgow (1888) and Berlin (1892) and is believed to have been active for a time in America (a file on him is in the Smithsonian Institution Library). The exposure established his international reputation. Andreoni specialised in historical and biblical subjects such as the present bust of Rebecca. His expertise with the chisel is evident here in the virtuoso handling of clothing, hair and jewelry, delighting in the richness of detail. Other historic subjects he treated included figures of a Pharisee (Sydney Museum), Francesco da Rimini, Messalina, the Blind Nidia and Hamlet (Bournemouth). 

RELATED LITERATURE
A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell'Ottocento e del Primo Novocento, vol.1, Torino, 2003, p. 30; V. Vicario, Gli Scultori Italiani dal Neoclassicismo al Liberty, vol.1, Lodi, 1994, p.29; J. Mackay, The Dictionary of Sculptors in Bronze, Woodbridge, 1977, p.26