Details
A PAIR OF MARBLE STATUES OF ANGELS
NEAPOLITAN, 18TH CENTURY, ATTRIBUTED TO GIUSEPPE SANMARTINO
One holding a model of a temple symbolizing the Christian Church, the other pointing to a passage in an open book (minor chips and repairs) on massive rectangular pedestals faced with variegated marble-34½in. (88cm.) high, 52in. (132cm.) wide, 28in. (71cm.) high, 61in. (155cm.) wide
(2)
NEAPOLITAN, 18TH CENTURY, ATTRIBUTED TO GIUSEPPE SANMARTINO
One holding a model of a temple symbolizing the Christian Church, the other pointing to a passage in an open book (minor chips and repairs) on massive rectangular pedestals faced with variegated marble-34½in. (88cm.) high, 52in. (132cm.) wide, 28in. (71cm.) high, 61in. (155cm.) wide
(2)
Literature
T. Fittipaldi, Scultura Napolitana del Settecento, Naples, 1980, pp. 136-186
A. Nava Cellini, La Scultura del Settecento, Turin, 1982, p. 97
Giuseppe Sanmartino (1720-1793) produced many Baroque altarpieces for Neapolitan churches with cerubim similar to the present pair, whose original location is unfortunately unknown. The idealized facial features, windswept curly hair and crisp folds of drapery may be compared with the candle-bearing putti on the High Altar in the Church of La Nunziatella, the standing putti in the Cappellone di S. Francesco Saverio in S. Ferdinando and the putti on the tomb of Filippo in S. Chiara (Fittipaldi, loc. cit., figs. 224-5, 404-5, 449-51). The treatment of the curly hair with a line of drill holes and the excavated locks around a 'bed' of drill-holes is almost identical to the head of St. Peter in the Cappellone di S. Agostino in S. Giuseppe dei Ruffi (Fittipaldi, loc. cit, fig. 409).
A. Nava Cellini, La Scultura del Settecento, Turin, 1982, p. 97
Giuseppe Sanmartino (1720-1793) produced many Baroque altarpieces for Neapolitan churches with cerubim similar to the present pair, whose original location is unfortunately unknown. The idealized facial features, windswept curly hair and crisp folds of drapery may be compared with the candle-bearing putti on the High Altar in the Church of La Nunziatella, the standing putti in the Cappellone di S. Francesco Saverio in S. Ferdinando and the putti on the tomb of Filippo in S. Chiara (Fittipaldi, loc. cit., figs. 224-5, 404-5, 449-51). The treatment of the curly hair with a line of drill holes and the excavated locks around a 'bed' of drill-holes is almost identical to the head of St. Peter in the Cappellone di S. Agostino in S. Giuseppe dei Ruffi (Fittipaldi, loc. cit, fig. 409).