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After he had left for Brussels in 1733, Delvaux left his marble with another sculptor, Peter Scheemakers, who sold it on his behalf in 1734 to John, 4th Duke of Bedford for his country seat, Woburn Abbey, Bedfordshire. Count Fede's marble was identified as Cupid and Psyche, but because of the position of Cupid's head and right arm, later became known as 'Biblis and Caunus' or 'Salmacis and Hermaphroditus'. According to Haskell and Penny (1981) this was because of a restorer (having altered the position of Cupid's head and right hand). Later, these titles were dropped and it reverted to 'Cupid and Psyche', because of its resemblance to the embracing 'Cupid and Psyche' discovered in 1749 and placed in the Capitoline Museum. Rome. Count Fede's marble was also recorded in a red chalk drawing by Pompeo Battoni c. 1727-30, bequeathed by Richard Topham (1671-1730) to Eton College (Topham Collection, Bn3, no. 21). The pottery group was probably produced from a reduced size plaster purchased from a London cast maker. The Catalogue of Charles Harris (undated c. 1790), for example, included plasters of both 'Cupid and Psyche', and 'Salmacis and Hermaphroditus', 21 in high which sold for 2 guineas each.  The pottery figures differ from the marbles in having oak leaves added to Cupid for modesty to make the group acceptable to the middle class patrons for whom it must have been intended, and for whom, according to Josiah Wedgwood, such adjustments were necessary. Copies of both Conte Fede's and the Capitoline 'Cupid and Psyche' were sometimes paired with copies of the Marbury Hall 'Bacchus and Ariadne' now identified as Priapus and a Maenad (for example on either side of mantelpiece at Ickworth, Suffolk), and it seems probable that the pottery versions might also have been displayed in pairs. 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