After Louis-François Roubiliac (1702-1762) British, 18th century

inscribed: Henrietta Finch 1741

Overall the condtion of the marble is good with dirt and wear to the surface consistent with age. The nose is reattached or restored. There are possible further restorations to the proper right cheek and to the mouth. There is some minor veining consistent with the material, including underneath the proper right eye. There are also a few small naturally occurring inclusions, including in the hair and brow. As noted in the cataloguing, the base may be associated, and there are chips and abrasions to the edges. There is some red paint to the lips and a few drips of wax. The marble would benefit from a professional cleaning.
"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 fine bust is taken from the same model as a bust attributed to Louis-François Roubiliac at Kenwood House, Iveagh Bequest, formerly in the collection of the Earls of Mansfield. The Kenwood bust is today identified as Elizabeth Murray (née Finch), 1st Countess of Mansfield (1704-1784) (Bryant, op. cit. p. 12). Whilst the facial features correspond with painted portraits of Elizabeth, the inscription on the present bust (which appears to date to the 18th century) would indicate that both sculptures represent her younger sister, Henrietta; any similarity with portraits of Elizabeth can probably be explained by family resemblence.