Workshop of Antonio Canova (1757-1822). Italian, Rome, circa 1820. Venus and Adonis

white marble on a white marble base. group: 184cm., 72½in. base: 30.5 by 79 by 85cm., 12 by 31 1/8 by 33½in. Estimate 200,000—300,000 GBP - Lot Sold:  235,250 GBP

PROVENANCE: The Marquese de Salamanca, Palaciode de Anglada, Madrid
Probably sold circa 1878 from the Paris collection of the Marquesa de Salamanca at Hotel Drouot
Collection of Fernandez de Villavicencio

LITERATURE AND REFERENCES: Pedro Navascués Palacio, Un Palacio Romántico: Madrid 1848-1856, Madrid 1983

NOTE: This life-size neoclassical marble group depicts Adonis bidding his farewell to Venus just before he leaves for the hunt that would lead to his demise. The sculpture is a perfected version after an original by Antonio Canova and may have been carved by Rinaldo Rinaldi, Canova's favourite pupil, when the original was back in the artist's studio in 1820. Canova was not completely happy with the original composition of the first group. After the death of the owner he had the group returned to his studio in Rome for alterations to the entire surface and the addition of a fig leaf, which he worked on for a month without pay. The improvements are incorporated in this marble. The slightly different pose and treatment of the hunting dog at the rear of the present marble are reminiscent of the marble hound thought to be by Rinaldi that was sold in Rome on the 6th of February 1899 (no. 411).

The composition of this group represents the most personal vision of Antonio Canova as he was already carving the marble original before it was purchased by the Marchese di Salza. The group was finished in 1794 and from letter of Antonio d'Este, Canova's chief assistant, it is clear that the group had been eagerly anticipated: 'your Canova has finished the group of Venus and Adonis. In the coming week it will be on show for all to see. Oh what a group! What a group!'

As it happened even Canova found the marble's reception at the Marchese's palace surprising: 'I will tell you that my group caused such an uproar in Naples, that during that time we had to close the little temple in which it was because too many people were going there. They made speeches, poetry and other discourses.' For the occasion the King of Naples waived all customs duties due on sculptures since he considered the work a considerable adornment to his city.

Upon the death of the Marchese di Salza Canova had the original group returned to Rome for the mentioned alterations. It was purchased there in 1820 by the Swiss collector Guillaume Favre who installed the sculpture in his library at the Villa La Grange in Geneva, where it remains to this day.

RELATED LITERATURE: Canova, exh. cat. Museo Correr and Gipsoteca Canoviana, Venice 1992, pp. 242-249, no. 123; O. Stefani, Antonio Canova. La statuaria, Milan 1999, pp. 59-61, no. 2; G. Hubert, La Sculpture dans l'Italie napoleonienne, Paris 1964, pp. 470-471; E. Bassi, La Gipsoteca di Possagno, Venice 1957, pp. 89-92, nos. 64-66

Sotheby's. Old Master Sculpture and Works of Art. 02 Dec 08. London. photo courtesy sotheby's. www.sothebys.com