After a model attributed to Francesco Bertos (1678-1741) North Italian, 18th century/ 19th century

Overall the condition of the terracotta is good with minor dirt and wear to the surface consistent with age. There is a grey slip to the surface which has worn a little in areas. There are a small number of possible very small chips, including to the Saint's hair, the edges of his drapes, and possibly to the teeth of the skull. There are some minor abrasions, including to the edges of the book. There is an old label to the reverse inscribed in ink: Guiseppe Rizzoli / di Padova / ...ce nell' anno 1822 and an old label printed: 170.
"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 terracotta is modelled after a marble attributed to Francesco Bertos by Charles Avery (op. cit., no. 21). It exhibits the same trailing forked beard often employed by Bertos, svelte physiognomy, and slender, dextrous, hands. Given the interest in the anatomy of the figure, and the unusual presentation of the saint (he is more often represented standing), Avery suggests that the religious subject was merely a vehicle for the study of the male form.

RELATED LITERATURE
C. Avery, Bertos. The Triumph of Motion, Turin, 2008, pp. 168-169, no. 21