Bas-relief micro-intaglio depicting Minerva holding a long spear in her right hand, her left hand resting on a shield bearing the image of Medusa. The figure is framed with four ebony strips with delicately carved ornamental appliqués comprising flower heads, vases with flowers, baskets with fruit, and foliage; and topped by a dove holding an olive branch. The 'spandrel' applique to the upper left corner is carved with a horn issuing a ribbon with the words 'la vertu récompensée par la nation'; the applique to the upper right bears a shield with an image of Apollo and a monogram, and a winged staff entwined with serpents (known as a caduceus). Minor losses to the foliage in the border.

A second version of Minerva Triumphant by Bonzanigo together with a micro-sculpture of Mars can be found in the Sala del Trionfo of Palazzo Madama (Home of the Civic Museum) in Turin. The Minerva composition is very similar but its richly decorated frame presents several variations in its embellishment, as do the four corner spandrels (cf. Il Trofeo militare di Giuseppe Maria Bonzanigo, edited by C. Arnaldi di Balme, A. Merlotti, Turin 2011. The bas-relief sculpture depicting Mars in Turin shares many characteristics with the Minerva offered here suggesting that they may well have originally been conceived as pendant pieces. Notably the grain pattern of the background runs vertically on the Mars in Turn and on the Minerva offered here whereas the Turin Minerva displays a horizontal grain pattern in the background.

Compiled in 1820, upon the death of the artist, the "Catalogo dei quadri di scultura esistenti nella galleria del defunto Signor Bonzanigo" (Catalogue of the framed sculptures present in the gallery of the late Signor Bonzanigo) lists at #77 a composition "portraying Minerva, in wood, together with her classical attributes; richly embellished. L.400" and at #79, a work "representing Minerva triumphant, in wood, superbly decorated. L. 400". (cf. A. Baudi Vesme, L'Arte in Piemonte dal XVI al XVIII secolo (Schede Vesme), I, Turin 1963, pp. 160-171).

It is reasonable to suggest that the two reliefs cited in the inventory of the properties and possessions of the artist are to be identified as the above-mentioned work held in Palazzo Madama and the piece offered here. Further credence to this assertion is lent by the consideration that the Minerva in Palazzo Madama is held in the same hall as the renowned Military Trophy, a piece Bonzanigo dedicated his lifework to, first under the House of Savoy and later the Napoleonic authorities. In fact, at the death of the artist, this piece, along with the two Minerva wood reliefs listed in the post mortem inventory, is to be found in the workshop and only at a later point in time is it assimilated, along with other works by the sculptor and one of the two inventoried reliefs of Minerva, into the Savoy collections.

Perhaps surprisingly, the arrival of Napoleon's troops in Turin does not interfere with Bonzanigo's success. Quite the opposite: in 1803 the artist puts forward a proposal in a pamphlet printed in Turin — to transform the premises he has been granted at the Academy for his own personal workshop and gallery into a sort of corporation whose aim would be to provide training for students in the art of intaglio and micro-sculpture.

In fact, these are the years in which Bonzanigo executes micro-portraits in carved wood of the various members of the Emperor's family; in 1808 his works are exhibited at the Salon de Paris and in 1811 he is officially engaged to carve a portrait of the Empress Marie Louise in ebony and ivory — the work is today held at the Louvre.

The Restoration and the subsequent return of the Savoy Monarchy not only witness a heightening in the fortunes of the aråst but, as it happens, Bonzanigo finds himself even more in demand; his previous commissions are confirmed, additional awarded and his privileges multiply. At the artist's death in 1820, the fundamental role played by Bonzanigo within the context of 18th and 19th century Piedmontese figurative art is immediately recognised by the critics of the day.

In the monograph of 1920, and highlighting the extent of Bonzanigo’s output, Gabiani selects the pair of Minerva and Mars in Turin as most noteworthy of description, saying ‘It would, without a doubt, be extremely complex if we proceeded to give even just a succinct description of all of Bonzanigo's most minute works. We therefore limit our task to remembering those who, of middle size, are universally judged to be the most valuable.’ (Nicola Gabiani, Giuseppe Maria Bonzanigo da Asti intagliatore, (Unione tipografico editrice torinese, Torino, 1920) p. 80-81.

Giuseppe Maria Bonzanigo (1745 - 1820) was born in Asti, Piedmont. He established a large workshop with many assistants in Via San Filippo in Turin. He was granted the patronage of the Royal family in 1773 and in 1774 he was elected to the Academia di San Luca. In 1787 he was appointed wood carver to King Victor Amadeus III. A pair of mirrors with frames carved by Bonzanigo in 1784 can be found in the Art Museum of Nichelino. He created furnishings for the Stupinigi hunting lodge and Palazzo Reale in Turin. He became most renowned for his micro-detailed sculptural reliefs. His works were popular with clients across Europe, particularly in England and France. Bonzanigo made his own small tools to create the detailed sculptural elements of his works and used a variety of woods to achieve a diverse colour palette including pear and other fruit woods, box, limewood, walnut, tulipwood and ebony.

A collection of 62 micro sculptural reliefs was acquired in the 1930s by the Palazzo Mazzetti in Asti, home of the Museo Civico.

We are indebted to the research provided by Antichita Alberto di Castro when this work was last sold in 2005.