circle of Christoph Daniel Rauch (1777-1857) German, circa 1830

signed indistinctly on the capital at Death's elbow and dated 183?

Overall the condition of the relief is very good with some minor wear to the surface consistent with age and some minor surface dirt. There may have been restoration around the wrists of the figure of History and her tablet. There is a faint white inscription to the top right corner. There is wear to the frame consistent with age.
"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 present terracotta relief is probably a design for a tomb. The goddess Minerva crowns the recumbent winged Death with laurels in token of his victory, whilst with the other hand she gestures towards the female personification of History, who with her tablet ensures the memory of the deceased for posterity. Strangely the bust surmounting the tomb bears a resemblance to Christian Daniel Rauch's portrait of Thorvaldsen with whom he shared dwellings in Rome. The relief itself can be compared to Rauch's reliefs of Minerva on his monument to General von Scharnhorst in Berlin. The twisted torso of Death is close to that of the kneeling man chopping trees for arrows in the relief of Minerva preparing arms. The author of this curious sketch was most probably one of the sculptors working within Rauch's circle, who followed in his footsteps to Rome after the master's return to Berlin.

RELATED LITERATURE
J. von Simson, Christian Daniel Rauch, Berlin, 1996, nos. 37, 68 & 75, pp. 132-136