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ANDREA MALFATTI (ITALIAN, 1832–1917)
ANDREA MALFATTI (ITALIAN, 1832–1917)
ANDREA MALFATTI (ITALIAN, 1832–1917)
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ANDREA MALFATTI (ITALIAN, 1832–1917)
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This lot will be removed to Christie’s Park Royal.… Read more PROPERTY OF A GENTLEMAN
ANDREA MALFATTI (ITALIAN, 1832–1917)

Venus and Cupid

Details
ANDREA MALFATTI (ITALIAN, 1832–1917)
Venus and Cupid
signed 'A. Malfatti Milano', on a large octagonal pedestal
marble
61 ¾ in. (157 cm.) high
90 ½ in. (230 cm.) high, overall
(2)
Literature
A. Panzetta, Dizionario degli scultori Italiani dell'ottocento e del primo novecento, 1994, v. 1, p. 174.
Special notice

This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Brought to you by

Giles Forster
Giles Forster

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Lot Essay


Born in the small North Italian city of Trento, the artist became recognized for his work rebuilding the fountain of Neptune for his hometown, as well as the statues of San Pietro Canisio and San Filippo Neri for the Basilica di Santa Maria Maggiore, Rome. However, the highly skilled Malfatti primarily sculpted genre and funerary works, which appealed to an international audience. In addition to exhibiting at the Paris Salons of 1882 and 1888, Malfatti sculpted the tomb a Mme. Josephine Faniel Verazzi, dedicated in 1879, which depicts a young child saying an eternal farewell to its mother and which may still be seen today at Père-Lachaise cemetery, Paris (44th division).
The present work deftly illustrates how Malfatti’s refined skills lent themselves to the tender subject of funerary moments. Here Venus evokes a sense of calm and melancholy, her downcast eyes suggestive of a mind lost in thought. Yet perhaps most striking is the dexterity of the carving, the undercut uneven curls of hair, the intricacies of the folded and dimpled skin, providing an exuberance to the cold marble which appear to almost bring the subject to life.

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