Circle of Domenico Guidi (1625-1701), Italian, Rome, 17th century

with a paper label inscribed: GUIDO, att. à Buste homme AAT S. 1997-4

Overall the condition of the terracotta is good. There is dirt and wear to the surface consistent with age, including a few flecks of paint. There are a few areas of restoration, including to the back of the head, neck, tips of the beard, ears and probably the entire collar. There are some losses to the proper right shoulder at the back. There are a number of stable firing fissures to the surface consistent with the material. There is a very small drill hole in the underside of the proper right shoulder and another behind the proper right ear. The base is in good condition with dirt and wear consistent with age, including a few chips and scratches, in particular to the edges. There are some flecks of paint and dirt to the front and some glue residues to the back. There is some naturally occurring veining to the marble. There is some light red paint between the bottom of the sculpture and the base to the left.
"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 well-observed casual expression, high collar, beard and moustache of the nobleman represented in this portrait are features also found in busts of Cardinal Sacchetti by Giuliano Finelli and Domenico Guidi's Monsignor Antonio Cerri. The use of terracotta and the sketched suggestion of decoration on the sitter's mantle suggest that the present sculpture served as a preliminary model for a marble.

RELATED LITERATURE
O. Ferrari and S. Papaldo, Le sculture del Seicento a Roma, Rome, 1999, pp. 104 and 535