Galleria Romanelli, Florence
‘Evening’ — A Large White Statuary Marble Allegorical Figure
POA
A Fine and Large White Statuary Marble Figure Emblematic of Evening. By E. De Cori for Galleria Romanelli, Florence. Signed ‘E. De Cori / Galerie...
Dimensions
Height: 221 cm (88 in)Width: 52 cm (21 in)
Depth: 43 cm (17 in)
Weight: 190 kg
Description
A Fine and Large White Statuary Marble Figure Emblematic of Evening.
By E. De Cori for Galleria Romanelli, Florence.
Signed ‘E. De Cori / Galerie Romanelli Flli / Florence’.
Italy, Circa 1900.
On a gilt-bronze black lacquered pedestal.
This beautiful nymph is carved as if suspended in mid-air. Cloudborne, with a crescent moon at her feet, and encircled by sunflowers. She raises her crossed arms as if wearily stretching, pulling her diaphanous robe around her head to shield her eyes from the settling sun. A single star set amongst the clouds foretells of her celestial journey as day gives way to night.
The sculptor E. De Cori is recorded to have worked for the Florentine sculpture studios, known as gallerias, of both Romanelli and Lapini, which flourished at the turn of the 20th century. Little information is recorded about him, but he might have been the same, or the brother of, Achille De Cori, who sculpted an effigy of Emilia Romanelli in 1895 for the Romanelli family chapel at The Sacred Doors Cemetery in Florence.
The Galleria Romanelli was established by Pasquale Romanelli (1812-1887) and continued by his son Raffaello Romanelli (1856–1928). Both were sculptors in their own right, but also employed other sculptors who retailed their work through the gallery. For this reason, it is not unusual to see Italian sculpture of the period bearing the name of the sculptor and the name of the gallery.
As was the practice of the gallerias, if a particular statue proved popular, subsequent examples would be made to order. Although no other examples of this statue can be traced, it is likely that such a beautiful composition was popular and more than one was carved. Fascinatingly, it is recorded that one was shown at the St. Louis World’s Fair in 1904 where it is photographed and titled ‘Evening’.

‘Evening’ at the St. Louis World’s Fair, Missouri, 1904.
The St. Louis World’s Fair, officially called the Louisiana Purchase Exposition, was a major international event held in St. Louis, Missouri, in 1904 that drew over 19 million visitors. Art and industry from all nations was shown at the exhibition. An impressive display of Italian sculpture was presented by the Florentine studios, principally the gallerias Lapini and Romanelli, and the artists they represented, including Antonio Frilli and Vittorio Caradossi.
This exquisite statue is preserved in exceptional original condition. It retains its original finish and, miraculously, even the fingers of her outstretched hand are perfect.
Exhibited:
Louisiana Purchase Exposition, St. Louis, Missouri, 1904.
The statue:
Height : 142 cm | 56 inches
Width : 52 cm | 20 inches
Depth : 43 cm | 17 inches
Weight : 190 kg | 419 lbs
The pedestal:
Height : 89 cm | 35 inches
Diameter : 56 cm | 22 inches
Weight : 75 kg | 163 lbs
Date
Circa 1900
Origin
Italy
Medium
statuary marble
Signature
Signed ‘E. De Cori / Galerie Romanelli Flli / Florence’.
The statue:
Height : 142 cm | 56 inches
Width : 52 cm | 20 inches
Depth : 43 cm | 17 inches
Weight : 190 kg | 419 lbs
The pedestal:
Height : 89 cm | 35 inches
Diameter : 56 cm | 22 inches
Weight : 75 kg | 163 lbs
The Galleria Romanelli was established by Pasquale Romanelli (1812-1887) and continued by his son Raffaello Romanelli (1856–1928). Both were sculptors in their own right, but also employed other sculptors who retailed their work through the gallery.

Raffaello Romanelli (1856–1928)
Raffaello Romanelli (1856–1928) was the principal incumbent of a dynasty of Florentine sculptures who achieved considerable commercial success in the late nineteenth century. Raffaello developed the studio of his father Pasquale and ensured a legacy for his son Romano, in the Romanelli studio which continues to this day. Raffaello’s success stemmed from a natural brilliance in carving marble coupled with a business acumen which brought him international acclaim. His style favoured realism and he sought to portray great accuracy in his subject matter, something he honed in his early years working primarily as a portraitist.
Raffaello Romanelli was the son of Florentine sculptor Pasquale Romanelli who had worked under Lorenzo Bartolini and took over his studio in Borgo San Frediano. The first commission for the young Raffaello was to sculpt in marble the hand of Lorenzo Bartolini, which was gifted to the Russian Princess Orloff. Sating early ambitions for a life at sea with a secondment in the Merchant Navy, the young Raffaello returned home and enrolled at the Florence Academy, studying under such masters as Professor Augusto Rivalta and Emilio Zocchi and winning the annual prize for sculpture at the academy in 1876. Thereafter Raffaello was given room at his father Pasquale’s studio on the Borgo San Frediano inside a deconsecrated church, where the high ceilings accommodated the sculpting of equestrian monuments which were a mainstay of Romanelli’s production. In 1880 Raffaello’s statue of the Roman hero, Gaius Mucius Scaevola, won him a scholarship to study for a year at the Rome Academy of Arts. The piece was later exhibited in the National Gallery of Fine arts in Florence. During these formative years Raffaello was recognised for his exceptional talent as a portraitist, and in 1884 he modelled the face of a San Frediano boy, ‘Me ne Impipo’ which is today still preserved in terracotta at the Galleria Romanelli, Florence. After the death of his father in 1887, Raffaello took over direction of the studio in Borgo San Frediano.
From the 1890s Raffaello’s fame found momentum with a multitude of commissions such as the monument to Giuseppe Garibaldi and a statue of Donatello for the Basillica of San Lorenzo, Florence. Another important Florentine figure immortalised by Raffaello’s hands was Benvenuto Cellini, whose bronze bust stands in the middle of the Eastern side of Florence’s Ponte Vecchio. In December 1888 Raffello was made a Accademico Corrispondente at the Florence Academy of Fine Arts and in 1862 a Professor of the Academy. Raffaello achieved international acclaim by winning a competition to make the monument to Tsar Alexander II of Russia and worked profusely for the royal court of Romania, becoming friends with King Carol I and Queen Elisabeth of Wied, producing a bust of King Carol himself and of Queen Victoria’s granddaughter Princess Maria of Edinburgh, who had become the wife of King Carol I’s nephew, the future King Ferdinand I of Romania. At the turn of the century Raffaello oversaw delivery of garden statuary, fountains and sculpture to Peles Castle, the Romanian royal palace in the Carpathian Mountains. Romanelli exhibited in Florence, Milan, Turin and Paris but with the outbreak of the First World War turned his attention to the United States, participating in the 1915 Panama—Pacific International Exhibition in San Francisco.
Raffaello Romanelli worked up until his death in April 1928, bequeathing the studio to his son Romano Romanelli.
Exhibited:
Louisiana Purchase Exposition, St. Louis, Missouri, 1904.














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