After François Du Quesnoy

Cardinal Imperiali (?)

Heim Summer 1978, no. 32; Washington, New York, Cambridge 1979-1982, no. 19 (illus.)

Nava Cellini 1977, no. 329, pp. 26-38; Boudon-Machuel 2005, OE.43 dér. 2, p. 253 (illus.)

Repaired breaks throughout. Mottled surface. Some fills and internal cracks. Standard chipping surface abrasion, and losses. Frame with standard wear, losses, and age cracks.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

RELATED LITERATURE

Schlegel 1978

The present large relief with the charming subject of music-playing putti is a copy of the left-hand portion of Duquesnoy's successful marble relief of the Concert of angels playing music above the altar of the Filomarino chapel in SS. Apostoli, Naples (1640-1642).

Although this relief was previously considered to be a preparatory model for the altar, Boudon-Machuel (op. cit., p. 253) examines several details such as the coarser wings and deliberate modelling which seem to indicate that it was made after the marble. A small relief in wax, formerly in the Staatliche Museen Preussischer Kulturbesitz, Berlin was also previously regarded as an original sketch model for the left-hand part of the Filomarino relief. However, Schlegel (op. cit. no. 8) later suggested that the wax was a study model made from the marble in the 18th century.