After a model by Alessandro Algardi (1598-1654) Italian, probably Naples, late 17th/ early 18th century

with an alabaster cartellino inscribed: i.NR.i

Overall the condition of the alabaster is good with dirt and wear to the surface consistent with age. The corpus is composed in two main parts: the torso upwards is carved separately and fitted into the perizonium. There are some restorations here, where the torso has perhaps been reattached (note traces of plaster at the joint). The proper right little finger is lost. Part of the ropes of the perizonium are lost. There are some scratches to the surface, including to the proper right thigh. The proper left hand is reattached at the wrist and the joint is faintly visible. The proper left back heal is carved separately and the joint is faintly visible. There is veining consistent with material, and a few of the veins are slightly open. The alabaster has turned a warm orange colour around the iron nails in the feet due to oxidation. There are a few small chips, including some to the edges of the perizonium. The wood cross is later, and the INRI plaque may also be later.
"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 remarkably large alabaster corpus follows a model by the great Roman Baroque sculptor Alessandro Algardi. The use of alabaster to such dazzling effect would nonetheless indicate a South Italian origin.

RELATED LITERATURE
A. Nava Cellini, La scultura del settecento, Turin, 1982, pp. 92-111; J. Montagu, Alessandro Algardi, New Haven and London, 1985, p. 201, fig. 234