Workshop of Gianlorenzo Bernini (1598-1680) Italian, Rome, 17th century

Overall the condition of the marble is very good. There is some minor weathering, wear and dirt consistent with age and placement in the open air. There are some minor chips to the edges, including at the putto's nose and a larger loss to the proper left side of the cardinals hat at the top.
"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."

This heraldic cartouche has been attributed to Gianlorenzo Bernini and his workshop by Charles Avery. Bernini is known to have worked on several projects in the honour of Cardinal Richelieu through the tireless mediation of Cardinal Mazarin, protégé of and successor to Richelieu. This cartouche lacks the Order of St. Esprit, which usually features in Richelieu's arms, suggesting that this cartouche was carved when he was still the Bishop of Autun. Several coats of arms which originated in the circle of Bernini display the impressive scroll-work and intricate detail seen here. Compare for instance the great series of stemme on the Baldacchino in St. Peter's and those carved and designed for the Rospigliosi family.

RELATED LITERATURE
P. Fehl, 'The on Bernini's Baldacchino in St. Peter's: a forgotten compliment', The Burlington Magazine, CXVIII, July 1976, pp. 484-91; C. Avery, Bernini. Genius of the Baroque, London, 1997, pp. 33-4, fig. 30 and pp. 231-4; S. Roberto, Gianlorenzo Bernini e Clemente IX Rospigliosi, Rome, 2004, pp. 235 and 239