Attributed to Daniello Solaro (circa 1649-1726) Italian, Rome, late 17th century

A. Rivoallan, 'Entre Genes et Rome: le cardinal Raggi, amateur éclairé et homme d'affaires averti', Bulletin de l'Association des Historiens de l'Art Italien, no.11, 2005, pp.42-80

Overall surface dirt with some weathering in particular to the top of his baretta, which is chipped at the front. Minor chips and scratches. Otherwise the condition is good.
"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."

Born in Genoa around 1649, Solaro's career was influenced by Pierre Puget's sojourn in Genoa. It is thought that he was apprenticed with Puget and also trained with Filippo Parodi.  The influence of both sculptors is seen in many of Solaro's works, such as the two allegorical figures in the Palazzo Serra and the Angel in the cappella Gavi, San Filippo Neri, Genoa. The animated composition of this lively bust of Cardinal Raggi is particularly reminiscent of the work of Parodi.

Of aristocratic birth, Lorenzo Raggi was born in Genoa in 1615. He was the nephew of Cardinal Ottaviano Raggi and would no doubt have benefitted from his uncle's appointment as cardinal in 1641. He held several important positions, including pro-majordome for Urban VIII, before his own appointment as Cardinal in 1647, when he was still only 32 years old. Lorenzo Raggi participated in four conclaves between 1655 and 1676.  His extensive activity as a patron of the arts has been examined by Anne Rivoallan in 2005, who also published the present marble bust of the Cardinal. Raggi's detailed correspondence with canon Leonardo Tirazzo from 1657 to 1670 is a key resource in our understanding of the character of the art world in Italy during the second half of the 17^th century, specifically between Rome and Genoa. 

RELATED LITERATURE
E.P. Armani and A.C. Galassi, La scultura a Genova e in Linguria dal Seicento al primo Novecento, vol.2, pp.171-173, 208-209