Attributed to Christofori Stati (1556-1619) Italian, late 16th/ early 17th century

There is wear and dirt to the surface consistent with age. The surface is partially repolished, particularly at the torso. There are areas of remodelling, including both hands. There is some plaster fill to the surface particularly at the back and right thigh. Other parts display pitting due to weathering, particularly the face and hair. The head of the snake is now lost and some rust stains are visble at the left side of the base. Otherwise the condition of the marble 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.
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Cristoforo Stati was born in Bracciano, outside of Rome and trained in Florence under the influence of Giambologna (although no documentary evidence links the two).  He carved and modelled the fountain with Samson Stopping the Lion's Mouth, which is now in the Jardin de la Isla, Aranjuez, Spain.  This originally formed a pair with Giambologna's group of Samson and the Philistine. (Victoria and Albert Museum, London).  The few known works by Stati assume a mannerist style but are are deeply inspired by the Antique.

In 1607, Stati was living in Rome and working for Matteo Barberini, later Pope Urban VIII, producing the figure of Mary Magdalene for the Barberini Chapel in S. Andrea delle Valle, consecrated in 1617 as well as the other known figure of Cleopatra (formerly Ludovisi collection; now Bologna, private collection), confirmed by documents.  The present figure is a different evocation of Cleopatra than that formerly in the Ludovisi collection and was possibly carved later in his career.  The present Cleopatra maintains the abundant physique and idealised form evident in Stati's other female forms.  The statue is more removed from Stati's time in Florence and demonstrates the profound impact the classical world, explored during his time in Rome, had on the artist. 

RELATED LITERATURE
V. Martinelli, 'Cristoforo Stati e il gruppo di "Venere e Adone"', Rivista d'arte, xxxii, 1957, pp. 233–42; I. Wardropper, "Cristoforo Stati's Samson and the Lion: Florentine style and Spanish patronage," Apollo 150, 451, September 1999, pp. 30–37