Italian, Florence, early 18th century

Overall the condition of the relief is good. There is some minor wear and dirt to the surface consistent with age. The relief is composed of sections, joints are visible throughout. There is a minor naturally occurring hairline fissure visible at the top of the forehead. The frame has wear to the gilding and remnants of glue throughout.
"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 beautifully carved relief is characteristic of the hardstone work, or pietre dura, made in Florence in the 17th and 18th centures. The Grand-Ducal workshops or the Galleria dei Lavori (and later the Opificio delle Pietre Dure) were established during the Renaissance by the Medici, who had great passion for the luxurious works of art that were created from these semi-precious and often rare stones. The vessels, small figures, reliefs and items of furniture were frequently given as diplomatic gifts, an indication of the high level of esteem in which these precious works were held by the Medici.

Giuseppe Antonio Torricelli (1659-1719) was a sculptor of hardstones who was able to create a subtlety and delicateness in his carving that captured the attention of the Medici. He made numerous works for the Grand-Ducal workshops, both relief and three-demensional work, including the imperial cameo of Cosimo III. The present relief has a similar quality of carving and use of stones as several reliefs by Torricelli including the Reliquary of Saint Emeric (1717) in the Museo delle Cappelle Medicea, Florence and a holy-water stoup in the Museo dell'Opificio della Pietre Dure, Florence (see Koeppe and Giusti, op.cit., pp. 203-6, nos. 57 and 58.)

RELATED LITERATURE
W. Koeppe and A. Giusti, Art of the Royal Court. Treasures of Pietre Dure from the Palaces of Europe, ex.cat., New York, 2008, pp. 203-6, nos. 57 and 58