mardi 23 janvier 2018 -
Bolli&Romiti - Viale Mazzini 1 00195 Rome
Maison de vente
Bolli & Romiti
Lot n° 18 - Carlo Albacini (workshop)
a white marble sculpture, 102cm. high
A pupil of Bartolomeo Cavaceppi, an eminent sculptor and restorer of Rome, Albacini was notable for his copies after classical originals such as the Farnese Hercules; his version of the Castor and Pollux at the Prado is now in the Hermitage Museum, or the Capitoline Flora from Hadrian's Villa, for the Grand Tourist market. Like Cavaceppi, he also restored classical sculptures, notably the Farnese marbles, which Albacini worked on in 1786-89, in preparation for their transfer to Naples under the direction of the German painter Hackert and Domenico Venuti.
He catalogued the immense collection of antique sculpture, some of its freely restored, left by Cavaceppi, and he assembled the collection of casts of Greco-Roman portrait busts that was sold by Filippo Albacini and can be seen in the Capitoline Museums, the Vatican Museums, in Naples, and at the Prado and Casa del Labrador, Aranjuez, and especially at the National Gallery of Scotland, where the presence of a large group of plaster casts purchased from Albacini's son in 1838 was the subject of a colloquium on the varying reputation and cultural significance of casts of classical sculptures and the varying parameters of ethical restorations.
On a smaller scale his workshop, working with Luigi Valadier, produced the elaborate table-setting in gilded and patinated bronze and rare coloured marbles on the Romantic-Classical theme The Ruins of Paestum that was designed for Maria Carolina by Domenico Venuti, 1805.
Lot n° 19 - Giovanni Bonazza (circle)
rectangular withe marble high-relief; grey marble frame, 77by44cm. (total).
This intriguing high-relief relates closely to the characteristic production of the venetian sculptor Giovanni Bonazza and his workshop. Compare a similar treatment of the hair, and equally pronounced facial features, in the examples illustrated by Pavanello (op. cit., nos. 70-79). The present relief resembles others in Padua and Perugia, which have been attributed to Bonazza's circle and, tentatively, to Francesco Bertos, who was one of his most prominent assistants.
Cfr.: G.Pavanello, La scultura veneta del Seicento e del Settecento. Nuovi studi, Venezia, 2002