Girolamo Ticciati (1671-1744) Italian, Florence, first half 18th century

The noble Degli Alessandri family of Florence, their villa, Villa Alessandri, Petroio, near Empoli;
Conte Giovanni degli Alessandri, Empoli;
P & D Colnaghi & Co., Ltd., 1965;
with Heim Gallery, London (INV.NO.084/76);
Dr Arthur Mitchell Sackler (1913-1987), New York;
his sale, Sotheby's New York, Important European Terracotta and Bronze Sculpture from the Arthur M. Sackler collections including Drawings related to Sculpture, 29 January 2010, lot 473

London, P & D Colnaghi & Co Ltd, Exhibition of seventeenth and eighteenth century Italian sculpture, 1965, no. 12;
Washington, New York and Cambridge, National Gallery of Art, Metropolitan Museum of Art, and Fogg Art Museum, Harvard University, Fingerprints of the artist: European terra-cotta sculpture from the Arthur M. Sackler collections, 1979-1982, no. 36;
New York, Metropolitan Museum of Art, European Terracottas from the Arthur M. Sackler Collections, 1981, no. 25

Exhibition of seventeenth and eighteenth century Italian sculpture, exh. cat. P & D Colnaghi & Co Ltd, London, 1965, no. 12, pl. X;
C. Avery and A. Lang, Fingerprints of the artist: European terra-cotta sculpture from the Arthur M. Sackler collections, exh. cat., National Gallery of Art, Washington D.C., Metropolitan Museum of Art, New York, and Fogg Art Museum, Harvard University, Cambridge, Washington D.C., 1981, no. 36;
J. D. Draper, European Terracottas from the Arthur M. Sackler Collections, exh. cat., Metropolitan Museum of Art, New York, 1981, no. 25

Overall, the condition of the terracotta is good, with minor dirt and wear to the surface consistent with age. There is a slip to the surface of the terracotta. There are some residues to the headdress of the veiled woman in the lower left corner. Her fingers may also have been reattached. There appears to be some restoration or stabilisation to the gesturing figure in the background on the right side. There are some small firing fissures in the terracotta, and some chips and abrasions to the edges. A section of the moulding at the top in the centre may be reattached. The reverse has been strengthened with the application of two layers of composite material/ adhesive, and there appears to be one or more horizontal metal struts running along the back.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The seated figure of John the Baptist and the prominent semi-nude male figure on the right of the composition can be compared with the figure Christ in the relief of The Exchange of Hearts from the cycle of marble reliefs from the life of St Catherine de' Ricci in San Vincenzo, Prato; they share a studied classicism. Ticciati includes a range of incidental narratives as he does in the Adoration of the Magi. See also the note to the previous lot.