Orazio Andreoni

Overall the marble is in very good condition. There is some evidence of wear and slight paint marks where the marble has rubbed against a wall at the back. There are some minor inclusions consistent with the material. Part of the marble was carved in original separate section and inserted to the back.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Considering the profusion of marble figures and busts carved by Andreoni, it is surprising that more is not known of this enterprising sculptor.  Based in Rome, Andreoni sent works for exhibition as far as Glasgow (1888) and Berlin (1892) and is believed to have been active for a time in America (a file on him is in the Smithsonian Institution Library). The exposure established his international reputation. Andreoni specialised in historical and biblical subjects such as the present bust of Rebecca. His expertise with the chisel is evident here in the virtuoso handling of clothing, hair and jewelry, delighting in the richness of detail. Other historic subjects he treated included figures of a Pharisee (Sydney Museum), Francesco da Rimini, Messalina, the Blind Nidia and Hamlet (Bournemouth).

RELATED LITERATURE
Panzetta, vol.1, p.30; Vicario vol.1, p.29; Mackay, p.26