Adolfo Wildt

Overall the condition of the relief is good. There is a restored break to the yellow marble background running from the the top left towards the bottom right corner. There are some chips to the corners of the background. There is a very small discoloured chip to the proper right side of the nose. There is some minor restoration to the edge of the headscarf on the proper left side of the face.
"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."

Adolfo Wildt's Vergine was exhibited at the third Roman Biennale in 1925. Displayed in the section for sacred art, the relief captured both critical and commercial attention with Wildt selling three versions within the next two years. Following the Rome Biennale the model was also shown at New York in the exhibition of Italian Modern Art in 1926. A bronze version is preserved at the Museo Revoltella, Brescia.

Vergine, also known as Testina di Maria, recalls one of Wildt's earliest marbles – his Vedova of 1892. That marble portrait of a woman with a scarf encircling her face was based on the features of the artist's wife – Dina Boschi. That he chose to depict her as a widow is entirely in keeping with the artist's melancholic temperament. In its turn Vedova was inspired by Antonio Canova's marble bust of a Vestal Virgin in the Galleria d'Arte Moderna, Milan. The calm serenity of the Vestal's face is framed by the sweeping folds of scarf pulled under her chin and over her head, just revealing the hairline.

In his Vergine Wildt has simplified both prototypes to focus on the fragment of the face. As Elena Pontiggia has noted, in her introspective reverie Wildt represents the Virgin 'pondering these things in her heart.' The model is remarkable as it eschews Wildt's characteristic sharp lines and angles in favour of soft forms and evocative shadows.

This lot is sold with an expertise by Paola Mola.

RELATED LITERATURE
V. Sgarbi ed., Wildt a Forlì: La scultura dell'anima, ex. cat. Palazzo Alberini, Forli, 2000, nos. 11-13, pp. 93-95; Adolfo Wildt e I suoi allievi, ex. cat. Palazzo Martinengo, Brescia, 2000, nos. 1 & 35, pp. 40-1 & 94-5