.jpg?w=1)
Lot Essay
François Ladatte - who was actually born in Turin as Francesco Ladetti - moved to Paris with his family at the age of 12, and spent most of his early working life there. He exhibited regularly at the Paris Salon between 1737 and 1743, but returned to Turin in 1744 where he became royal sculptor to Victor-Amadeus II of Savoy.
Although Ladatte frequently worked on a monumental scale, including garden statuary, he is most noted for his small-scale sculpture, particularly gilded bronze statuettes and ormolu mounts for the furniture of such cabinet-makers as Pietro Pifetti. The present marble figure compares closely to his morceau de réception of 1741, entitled Judith tenant la tête de Holoferne (see Gaborit, loc. cit.). Both exhibit the same exaggerated contrapposto, the small head and facial type, along with the ample proportions of the hips and the rippling drapery style.
The identity of the figure is open to question. Although the armour might lead one to suspect the subject is intended to be Minerva, the elaborate jewellery and exposed breast are not in keeping with the imagery associated with the virgin goddess of wisdom. As a figure of Victory, she is lacking wings. The coquettish demeanor, ropes of pearls and seashells at her feet suggest the goddess of love, Venus, although the armour is not a normal attribute. However, it may be that she was originally paired with a Mars, and that she is leaning against the armour which he has flung aside after having been 'conquered' by love.
Although Ladatte frequently worked on a monumental scale, including garden statuary, he is most noted for his small-scale sculpture, particularly gilded bronze statuettes and ormolu mounts for the furniture of such cabinet-makers as Pietro Pifetti. The present marble figure compares closely to his morceau de réception of 1741, entitled Judith tenant la tête de Holoferne (see Gaborit, loc. cit.). Both exhibit the same exaggerated contrapposto, the small head and facial type, along with the ample proportions of the hips and the rippling drapery style.
The identity of the figure is open to question. Although the armour might lead one to suspect the subject is intended to be Minerva, the elaborate jewellery and exposed breast are not in keeping with the imagery associated with the virgin goddess of wisdom. As a figure of Victory, she is lacking wings. The coquettish demeanor, ropes of pearls and seashells at her feet suggest the goddess of love, Venus, although the armour is not a normal attribute. However, it may be that she was originally paired with a Mars, and that she is leaning against the armour which he has flung aside after having been 'conquered' by love.