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An Italian carved white marble jardinière, in the antique taste Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799) image 1
An Italian carved white marble jardinière, in the antique taste Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799) image 2
An Italian carved white marble jardinière, in the antique taste Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799) image 3
An Italian carved white marble jardinière, in the antique taste Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799) image 4
An Italian carved white marble jardinière, in the antique taste Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799) image 5
Lot 37*,TP

An Italian carved white marble jardinière, in the antique taste
Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799)

Withdrawn
Amended
Fine Decorative Arts
29 November 2022, 14:00 GMT
London, New Bond Street

£10,000 - £15,000

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An Italian carved white marble jardinière, in the antique taste

Probably late 18th / early 19th century, in the manner of Bartolomeo Cavaceppi (Italian, 1716-1799)
Of rectangular form, the plain rim with egg and dart moulded border, the sides carved as a continuous Bacchanalian figural frieze including dancing nymphs, satyrs and male figures, musicians and animals, together with theatrical masks, trees and a thyrsus, 103cm long, 40cm wide and 40cm deep

Footnotes

Bartolomeo Cavaceppi's workshop in Rome was one of the most acclaimed destinations for British tourists in the second half of the 18th century. First training as a sculptor, he entered the Accademia di San Luca in 1732. In 1734 he was appointed by the nephew of Pope Clement XI, Cardinal Albani, as his personal art restorer. From this important relationship, the sculptor earned many commissions from foreign tourists, particularly British collectors.

Cavaceppi found antique statues, restored them, and also made reproduction copies. In addition, he also created original works 'all'antica,' - in the antique style. Some of his works were known to be his own original designs but on other occasions they were confused with authentic antiquities as he rarely signed his work. However, at the height of his fame, Cavaceppi did publish three volumes of engraved images of the works that he had restored or possessed which today give some idea of his prolific output.

Related Literature
Phyllis Pray Bober & Ruth Rubinstein, Renaissance Artists and Antique Sculpture: A Handbook of Sources, Harvey Miller, 2011.

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