Italian, Naples or Rome, circa 1620-1630

Overall, the condition of the marble is good with minor dirt and wear to the surface consistent with age. There is veining to the marble, consistent to the material, in particular to the chest and to the forehead. There are a number of small chips to the edges of the drapery and a few larger losses to the back and sides of the bust. There is a small iron hook to the back of the neck. The socle is associated. A section on the reverse of it was reattached. There is veining to the socle consistent with the material and there are some chips.
"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 present bust fits into a style of formal portraiture pioneered by Alessandro Vittoria. Portrait busts of this type are generally truncated beneath the pectoral muscles and are nearly or fully frontally positioned. The men are represented with short pointed beards, cropped hair and a piercing gaze which, added to the austere contemporary dress, lend an appearance of power to the sitters. A similar style was introduced in Rome by Neapolitan sculptors such as Pietro Bernini. See, for example, the bust of Domenico Fontana thought to be Neapolitan in the Victoria and Albert Museum (inv. no. A.14-1938).

RELATED LITERATURE
J. Pope-Hennessy, Catalogue of Italian sculpture in the Victoria and Albert Museum, London, 1964, vol. II, pp. 498-499, no. 526