Italie, Florence, vers 1710, attribué à Giuseppe Piamontini (1664-1742) L'Amour Profane et l'Amour sacré

R. Spinelli, Il fasto e la ragione. Arte del Settecento a Firenze, cat. exp. Galerie des Offices, Florence, 2009, p. 24, fig. 1.

REFERENCE(S) BIBLIOGRAPHIQUE(S)
S. Bellesi, I marmi di Giuseppe Piamontini, Florence, 2008, pp. 6 et 55-62; Gli Ultimi Medici, Il tardo barrocco a Firenze, 1670-1743, cat. exp. Palais Pitti, Florence, 1974, p. 415.

Good condition overall with minor surface dirt, especially in the crevices, consistent with age and handling. A few minor chips to the surface and the edges of the terrace. The white marble with natural veining and some inclusions. There appears to be an old restoration to the Standing Cupid’s proper right wrist and club. The seated Cupid’s club in his hand is missing. Fine drilling to the children’s hair and wings, very good carving.
"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.
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Formé dans l'atelier de Giovanni Battista Foggini (1652-1725) à Florence, Giuseppe Piamontini part en 1681 pour Rome pour suivre les enseignements de Ciro Ferri et Ercole Ferrata à l'Accademia. A son retour à Florence en 1686, il travailla avec Foggini sur un nombre important de commandes des Médicis, notamment une série de tondi en terre cuite émaillée, réalisée à la demande de Côme III pour l'église San Pietro d'Alcantara à Montelupo. Piamontini fut aussi l'auteur du portrait en marbre de Francesco Maria de' Medici (Galerie des Offices), de même que d'une paire d'anges céroféraires en marbre (Maresca, Pistoia, église San Gregorio Magno).
Piamontini avait une prédilection pour ces sujets d'Enfants luttant, ou Éros et Antéros, illustrant la métaphore de l'Amour profane et de l'Amour sacré, les sentiments et humeurs variant de l'amour. Le marbre d'Amorini in atto scherzoso, au palazzo Pitti à Florence a été commandé à Piamontini en 1707 par Ferdinando de' Medici. Un autre groupe de Faune et Satyre, signé et daté 1710 (vente Sotheby's à Londres, le 16 avril 2002, lot 60; collection particulière) reprend la composition de façon similaire. Pour ces marbres, Piamontini a pu s'inspirer du groupe d'Éros et Antéros, réalisé par Alessandro Algardi vers 1630 (collection Liechtenstein, Vienne). Ce groupe de deux Amours qui se battent pour conquérir le coeur qui gît à leurs pieds représente probablement Éros et son frère Antéros qu'oppose, dans la mythologie grecque, une lutte sans fin pour la force et la pureté des sentiments. 

Trained in the Florentine workshop of Giovanni Battista Foggini (1652-1725), Giuseppe Piamontini moved to Rome in 1681 to become the pupil of Ciro Ferri and Ercole Ferrata at the Accademia. Back in Florence in 1686, he collaborated with Foggini on significant commissions from the Medici family, such as a series of enameled terracotta tondi for San Pietro d'Alcantara Church at Montelupo. Piamontini was also the author of a marble Portrait of Francesco Maria de' Medici (Galleria dei Uffici), as well as a marble pair of Angels Holding a Candlestick (Maresca, Pistoia, San Gregorio Magno Church). Piamontini made numerous marbles of fighting putti, the figures of Eros and Anteros - symbolizing Profane Love and Sacred Love - or on themes of the changing feelings and moods of love. Piamontini’s marble sculpture of Amorini in atto scherzoso, at the Palazzo Pitti was commissioned in 1707 by Ferdinando de' Medici. Another significant sculpture group is his Faun and Satyr, signed and dated 1710 (sold at Sotheby's London, 16 April 2002, lot 60; private collection). For these marbles, Piamontini found his inspiration in Alessandro’s Algardi’s Eros and Anteros, made in 1630 (Liechtenstein collection, Wien). This group of two fighting putti are likely to be the mythological Greek figures Eros and his brother Anteros opposed in a perpetual struggle Between carnal earthly love (Anteros) and eternal sacred love (Eros).