Vittorio Caradossi

Overall in a good condition and very good presentation. Surface of the marble in its own original condition untouched. Usual minor chips around bottom edge of the base. One can notice restoration to the tip of the quill and feather, however the restorations are not noticeable to the naked eye. There are some very light scratches in places but not deterring its overall presentation.
"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."

Amenaide is a character from the Italian opera Tancredi by Gioachino Rossini. Two versions of the opera exist, one which ends tragically like in the original play by Voltaire, and another version which concludes happily. In both, Amenaide is the young innocent daughter of a noble family who falls in love with the hero of the tale, Tancredi. In the tragic version, Tancredi marries Amenaide just in time for him to die in his wife’s arms from a wound received in battle. 

Professor Vittorio Caradossi was a Florentine sculptor and was active during the late 19^th and early 20^th century. In contrast to his many large public monuments, Caradossi was famed for his sensuous female allegorical nude sculptures. He was distinguished for his highly decorative style with elaborate compositions. This figure of Amenaide is a gentle and modest depiction of the young heroine, which is emphasised by the drapery clinging to the curve of her hip. In the present sculpture, rather than focussing on the dramatic circumstances of the play, Caradossi accomplishes a moment of intimate reflection.

RELATED LITERATURE
E. Benezit, Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs, Paris, 1999, vol. 3, p. 216