Italian, Rome, first half 17th century

Overall the condition of the sculpture is good with wear to the surface consistent with age. There is dirt throughout; the piece would benefit from professional cleaning. There are a few small casting flaws to the bronze, including to the proper right hand (sides of the thumb and index finger). Both arms are slightly loose and may be reattached. There are losses to the alabaster at the proper left sleeve and some old restorations. There are a few smaller losses, including to the drapery at the proper right side. There are a few small holes to the alabaster. There are losses and restorations to the corners of the base, in particular to the rear left corner.
"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 classicising alabaster and bronze figure has stylistic affinities with François Duquesnoy's (1597-1643) St Susanna in the church of Santa Maria di Loreto, Rome. Note the analagous arrangement of the drapery, in particular the horizontal folds of the mantle at the waist and the vertical folds of the chemise and skirt. The position of the feet and the arrangement of the hair are also very close. A bronze figure with an almost identical pose was sold at Sotheby's, Florence on 12th October 1972, lot 137. A comparison can also be made with a number of figures by Duquesnoy's contemporary, Alessandro Algardi (1598-1654), in particular, his St Mary Magdalene in San Silvestro al Quirinale, Rome, which has a similarly expressive facial type and dynamic pose, with outstretched hand.

The use of alabaster combined with bronze recalls 16th and 17th-century restorations of antique statuary and, in particular, the work of Nicolas Cordier (1567-1612). Cordier was famed for his superb bronze additions to ancient marbles and for his sumptuous figures composed of differing coloured marbles. His figure of a Gypsy, with bronze head and outstretched hand, is emblematic of his work.

RELATED LITERATURE
J. Montagu, Roman Baroque Sculpture. The Industry of Art, New Haven and London, 1989, pp. 151-72, fig. 203; M. Boudon-Machuel, François Duquesnoy 1597-1643, Paris, 2005, pp. 136-9, figs. 138-9, no. OE.34; A. Angelini, Baroque Sculpture in Rome, Milan, 2005, pls. 7, 28; E. Lingo, François Duquesnoy and the Greek Ideal, New Haven and London, 2007, pp.140-59