Italian, 17th-century style

Sotheby's London, 15 December 1977, lot 122

There are chips and losses to the marble throughout, in particular to the edges of the head. There are chips to the eyelids and sockets, as well as to the edges of the ears, especially the right ear lobe and inner ear. There is a large chip to the lower lip. There are chips and abrasions around the neck edge. There is a large reattachment to the reverse of the neck. There are scratches, especially to the proper right forehead and cheek. There are small losses and some discolouration to the top of the head. There is some veining, consistent with the material, including to down the proper right cheek. There are some black marks. There are minor chips to the base. Otherwise the condition of the marble is good, with dirt and wear to the surface consistent with age.
"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 tradition of representations of African natives began in antiquity and was revived in the Renaissance from the 16^th century onwards, popularised by artists such as Nicolas Cordier (ca. 1567-1612), known for his ethnographic sculptures. Cordier was a French sculptor active in Rome who carved representations of moors in bronze and black marble. His full-length figure of a moor was once one of the highlights of the Borghese Collection (see Pressouyre, op. cit.). The present sculpture is carved in grey marble, an evocation of skin tone. Natural polychromy achieved by the use of multi-coloured marbles, alabasters and porphyry became increasingly popular during the seventeenth century, while the employment of paint was a phenomenon associated with 19^th-century sculpture.

RELATED LITERATURE
S. Pressouyre, Nicolas Cordier, recherches sur la sculpture à Rome autour de 1600, Rome, 1984, vol. 1, pp. 413-415, no. 21, figs. 190-198