Italian, Rome, early 19th century

Overall the condition of the marble is very good. There is some dirt and wear to the surface consistent with age adn handling. There are some minor inclusions and there is natural veining, particularly on the proper right side of the forehead, right cheek and proper right side of the hat. There are small chips to the truncation and hair particularly on the fold of the drapery and the proper lower left side of the curls. There is a restoration to the left side of the socle.
"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 mythical beauty of Paris and Ganymede, both recognisable by the Phrygian cap that also adorns the present bust, had great appeal to neoclassical sculptors such as Antonio Canova and Adamo Tadolini. The strict classical splendour of the face and treatment of the curls in the present bust related closely to the work of Bertel Thorvaldsen. It is particularly comparable to Thorvaldsen's 1816 full-length marble of Ganymede pouring a cup in Copenhagen.

RELATED LITERATURE
Bertel Thorvaldsen 1770-1844. Scultore Danese a Roma, ex. cat. Galleria Nazionale d'Arte Moderna, Rome 1989, pp.167-168, no. 34