AN ITALIAN STATUARY MARBLE FIGURE OF THE VENUS DE' MEDICI by Innocenzo Spinazzi, after the antique, shown nude, looking to her left, her hair tied by a chignon to the back, her right hand across her breasts and her left covering her modesty, a dolphin at her feet, on a square base carved with sea-shells, signed INNOC. SPINAZZI ROMANO FACEUA IN FIRENZE 1784, (her right forefinger broken and repaired, her left forefinger broken at the tip, the under finger broken, the little finger broken and repaired, chip to dolphins tail), circa 1784

Details
AN ITALIAN STATUARY MARBLE FIGURE OF THE VENUS DE' MEDICI by Innocenzo Spinazzi, after the antique, shown nude, looking to her left, her hair tied by a chignon to the back, her right hand across her breasts and her left covering her modesty, a dolphin at her feet, on a square base carved with sea-shells, signed INNOC. SPINAZZI ROMANO FACEUA IN FIRENZE 1784, (her right forefinger broken and repaired, her left forefinger broken at the tip, the under finger broken, the little finger broken and repaired, chip to dolphins tail), circa 1784
64¼in. (163.2cm.) high overall

Lot Essay

Summoned by Pietro Leopoldo, Innocenzo Spinazzi (d.1798) became sculptor to the Court in Florence in 1769. His principal work consisted of the restoration of some of the most well-known antique sculpture, namely the Niobe group, which, recently brought to Florence from the Villa Medici, occupied him between the years 1771 to 1776. He was also instrumental in the restoration of a large amount of sculpture destined for the Gardens of Boboli, as well as being charged with the acquisition of antique and modern works for the Court. His Court obligations allowed him only three months a year to dedicate to his own work and as a consequence his output was limited.

The Venus de' Medici, one of the half-dozen finest antique sculptures to have survived, was installed in the Tribuna of the Uffizi, Florence, in 1688 and, apart from a fifteen year evacuation to Palermo to escape the invading French, has remained there since. Highly exalted by eighteenth century sculptors, the Venus was probably easily accessible to Spinazzi, in his guise as Court sculptor and restorer.

This ' valuable copy in statuary marble of the Venus de Medici, alabaster base (broken)' was recorded in the Hall in the 1840 Inventory

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