Walter Padovani established his gallery in Milan in 2000, in the prestigious fashion district. The Gallery mainly deals in Italian sculptures, paintings and works of art from the 17th to the 19th century. The major guidelines of the business relate to research with a particular attention to quality, provenance and condition, as well as the close collaboration with art historians. Over the years, the Gallery has sold works to Italian and international private collectors and museums. It also offers the following services: estimates, appraisals, assistance and advice for the formation of collections and asset divisions, support and advice for Export Offices paperwork, handling and restoration of works of art.
Walter Padovani will be participating with an online exhibition at London Art Week.
Signed and dated: “P.LABRUZZI. ROMA. AN. 1774”
Cast after models by Francesco Maria Ravaschio (Genoa, 1743 -1820). Bibliography: F. Alizeri, "Notizie dei professori del disegno in Liguria dalla fondazione dell’Accademia", 3 vols., Genoa 1864-66, II, p. 201; A. González-Palacios, "Ristudiando i Righetti", in "Antologia di Belle Arti”, 39-42 (1991-1992), pp. 17-46; F. Haskell, N. Penny, "L’antico nella storia del gusto. La seduzione della scultura classica", Turin 1984.
This sculpture in the round portrays a beautiful woman reclining in a very elegant pose, deep in solitary contemplation, emphasised by her lowered gaze. Both for the typology of the sculpture and the peculiar treatment of the surfaces this Venus resembles the artistic production of Giovanni Bonazza, whose works include a series of small marbles on different subjects consisting of representations of reclining figures. These include a Reclining Nymph in the Dallas Museum of Art (Dallas), a Venus and Cupid in the Museum für Kunst und Gewerbe (Hamburg), and three sculptures depicting the Penitent Magdalene in the Musei Civici in Padua, one of which in particular seems to be an ideal companion piece to a Penitent St Jerome, signed and now in the University Library of Padua. Also worth mentioning for its extraordinary quality is another Penitent St Jerome in the Monastery of San Francesco in Rovigno (Istria).
The two peacocks, portrayed in the act of strutting and spreading their tails, stand on flared and truncated pyramidal bases whose faces are decorated with coral inserts in the shape of small pearls, ovals and commas. The birds' bodies, tails and wings, in gilded copper, are adorned with inserted coral pods. The outer rims of their spread tails display alternating white enamel flowers and coral pearls. Where the wings are joined to the body, they present a white enamel flower. The bodies, the legs and the heads, crowned with crests consisting in small coral pearls, are in finely chased gilded bronze. Peacocks are a genuine rarity in the range of coral objects produced in the Baroque era, which stretches from liturgical items such as holy-water stoups, capezzali, cribs and crucifixes to secular items such as desk sets and boxes. In fact, the only other pair of peacocks published and known in literature hitherto is a pair that was formerly in the Whitaker Collection.
Provenance: Private collection, Italy; Heim Gallery, London; Arthur M. Sackler collection, New York. Exhibitions: C. Avery, A. Laing, "Fingerprints of the Artist: European Terra-Cotta Sculpture from the Arthur M. Sackler collections", exhibition. catalogue, Washington, New York, Cambridge (Mass.), 1980-1981, pp. 66-67, no. 17; J.D. Draper, "European Terracottas from the Arthur M. Sackler Collections", exhibition. catalogue, Metropolitan Museum of Art, New York, 1981, no. 10; I. Wardropper, "European Terracotta Sculpture from the Arthur M. Sackler collections", exhibition. catalogue, Art Institute of Chicago, 1987-1988, no. 5. Bibliography: C. Avery, A. Laing, ed. by, "Fingerprints of the Artist: European Terra-Cotta Sculpture from the Arthur M. Sackler collections", 1980-1981, Cambridge, pp. 66-67, no. 17.; J. Montagu, "Alessandro Algardi", 2 voll., J. Montagu, 1985, Hew Haven and London, II, p. 343, no. 33, fig. 217.
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