Alexander the Great, Carlo Albacini Italian Marble Neoclassical Mythological

View Similar Items

Alexander The Great Bust No:2 Made with Compressed Marble Powder Statue

Alexander The Great Bust Made with Compressed Marble Powder Statue / Large

Alexander The Great Bust Made with Compressed Marble Powder / Istanbul / Small

Plaster Cast: the Head of Alexander the Great, Italy 1890

Banded Alexander The Great Bust Statue Made with Compressed Marble Powder

Alexander The Great Bust Made with Compressed Marble Powder / Istanbul / Large

Alexander The Great Bust Made with Compressed Marble Powder / Istanbul / Small

Banded Alexander the Great Bust Statue Made with Compressed Marble Powder

Magnifican Alexander the Great Bust of Carrara White Marble, 20th Century

Handsome 19th Century Bronze and Marble Neoclassical Bust, Great Color & Patina.

19th Century Italian Neoclassical Marble Bust

YELLOW SIENA MARBLE ROUND OF ALEXANDER THE GREAT AMMON late 19th Century VIDEO

1 of 12

Alexander the Great, Carlo Albacini Italian Marble Neoclassical Mythological

About the Item

Carlo Albacini (1734-1813) Alexander the Great The marble column that supports the bust is original and is born together with the sculpture Not signed but certified by the Expertise of Professor's Teresa Sacchi Lodispoto Carlo Albacini was an Italian sculptor and restorer of Ancient Roman sculpture. He was a pupil of Bartolomeo Cavaceppi, an eminent sculptor and restorer of Rome. Albacini was notable for his copies after classical originals such as the Farnese Hercules, his version of the caster and Pollux at the Prado is now in the Hermitage Museum or the Capitoline Flora from Hadrian's Villa, for the Grand Tourist market. Like Cavaceppi, he also restored classical sculptures, notably the Farnese marbles, which Albacini worked on in 1786-1789, in preparation for their transfer to Naples under the direction of the German painter Hackert and Domenico Venuti. Some of his restorations were free, by modern standards: In the famous Farnese Aphrodite Kallipygos at Naples, the head, the exposed right breast, left arm and right leg below the knee are restorations by Albacini. Not restored in Rome before shipment to Naples, however, were the Farnese paired Tyrannicides restored as Gladiators. Albacini was the principal restorer for Thomas Jenkins, whose pre-eminent client was Charles Townley, Townley's collection is at the British Museum. Townley introduced Albacini to Henry Blundell whose collection of Roman sculptures was magnificently displayed at Ince Blundell. In 1776 Blundell, considering that a fine modern copy was superior to a mediocre antiquity, commissioned from Albacini a copy of a colossal marble head of Lucius Verus, when the young Antonio Canova visited the workshops of Cavaceppi and of Albacini in 1779-1780, he spoke to one of Albacini's garzonieri who said he had already spent fourteen months pointing up a copy of the Borghese bust of Lucius Verus and had five months of work still to do. The Farnese Aphrodite Kallipygos, (National Archaeological Museum, Naples) restored in 1780s He catalogued the immense collection of antique sculpture, some of its freely restored, left by Cavaceppi and he assembled the collection of casts of Greco-Roman portrait busts that was sold by Filippo Albacini and can be seen in the Capitoline Museums, the Vatican Museums, in Naples, and at the Prado and Casa del Labrador, Aranjuez, and especially at the National Gallery of Scotland, where the presence of a large group of plaster casts purchased from Albacini's son in 1838 was the subject of a colloquium on the varying reputation and cultural significance of casts of classical sculptures and the varying parameters of ethical restorations. On a smaller scale his workshop, working with Luigi Valadier, produced the elaborate table-setting in gilded and patinated bronze and rare coloured marbles on the Romantic-Classical theme The Ruins of Paestum that was designed for Maria Carolina by Domenico Venuti, 1805. As marble masons, Albacini's workshop also executed architectural sculptures, such as the two simple chimneypieces of white and coloured marble for the gallery of Ferdinand IV of Naples' hunting box, the Casino Reale at Carditello, about 14 km northeast of Naples. Pedestals for sculpture, for which Albacini was to be paid, were shipped from Livorno in 1780 by Gavin Hamilton intended for Thomas Pitt, later Lord Camelford, who did not take them. His son, also Carlo Albacini (1777-1858), was a sculptor. The measurements are of sculpture only, without column. The column is 122 cm high and has a diameter of about 30 cm. Italian fine Arts Authority must check this item in order to allow its exportation. This process lasts about 60 days.

Attributed to:
CARLO ALBACINI (Author)
Dimensions:
Height: 27.17 in (69 cm)Width: 13.78 in (35 cm)Depth: 13.78 in (35 cm)
Style:
Neoclassical (Of the Period)
Materials and Techniques:
Marble
Place of Origin:
Italy
Period:
Late 18th Century
Date of Manufacture:
1770
Condition:
Wear consistent with age and use.
Seller Location:
Rome, IT
Reference Number:
1stDibs: LU4882116012931