Attributed to Christophe Veyrier (1637-1689) Italian, Genoa, second quarter 17th century

inscribed: GRATIA ET VERITAS

private collection, France

Over the condition of the marble is good. There is wear and dirt to the surface consistent with age with particular dirt to the reverse. There are some naturally occurring inclusions including to the area around the stomach and the forehead. There are some minor chips, including to the edges of the base. There are losses to the thumb, index- and middle finger of the proper right hand. A hole for fixing the statue was drilled at the back of the neck.
"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."

Christophe Veyrier was born in Trets in Southern France and worked as Pierre Puget's assistant in Genoa from 1661 to 1667. He trained in Rome in 1668-1669 and from 1670 worked for the Eglise des Minimes in Toulon. In 1674 he married Puget's niece and by 1682 was employed in the Toulon Arsenal workshop under Puget.

Compare the present figure with the figure of the Dying Achilles in the Victoria and Albert Museum (inv. no. A.20:1-1945) as well as the head of St. John the Baptist in the Musée Granet d'Aix-en-Provence and the bust of Christ in the Musée des Beaux Arts in Toulon exhibited in 1994 (op.cit.). From 1682 to 1702 Veyrier was commissioned by Jean-Claude Viany ( 1639-1726), Prior of the Knights of St. John, to create sculpture for the church of St. Jean de Malte in Aix. St. John the Baptist was a saint particularly venerated by the Knights of St. John and it is suggested that the present figure, probably intended for a private chapel, was carved at this time.

RELATED LITERATURE
La scultura a Genova e in Liguria dal seicento al primo novecento, Genoa, 1988, vol. II; Pierre Puget, peintre, sculpteur, architecte, 1620-1694, exhib.cat. Musée des Beaux Arts, Marseille, Paris, 1994, pp.360-361, no. 160