Italian, Veneto, in 16th-century style

Overall the condition of the marble is good. There is some wear and dirt to the surface consistent with age. Sections of the surface have possibly been repolished. There are several small nicks and chips to the surface, particularly to the edges of the caryatid.
"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 impressive caryatid owes its inspiration to a form of architectural element, often integrated in fireplaces, which became popular in Genoa in the first half of the 16^th century. Gian Giacomo della Porta is perhaps the best known exponent of this genre, exemplified by his work in the Palazzo Grimaldi alla Meridiana or in the Palazzo Balbi Senarega.  Further comparisons can be drawn with caryatids carved in similar Verona marble in 1532 by Vincenzo and Gian Gerolamo Grandi for the fireplaces in the Sala Grande of the 'Magno Palazzo' in the Castello di Buonconsiglio, Trento.  It has also been suggested that the present caryatid can be compared stylistically with the work of Tiziano Minio.