Longworth Powers

Overall the condition of the bust is very good with minor wear and dirt to the surface consistent with age. There are a few naturally incurring inclusions, including to the proper right side of the crown at the back, the proper left shoulder, below the proper left breast, and to the proper left sleeve at the back with some fill. There are a few spots of dirt, including to the proper left sleeve at the back, the proper right side of the head, the tip of the nose, and the sides of both sleeves. There is veining to the marble consistent with the material, including a vein running in cross section through the socle from side to side which has opened into a stable fissure on the proper left side. There are a few small chips to the edges of the sleeves.
"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."

Longworth Powers was the eldest son of the great American neoclassical sculptor, Hiram Powers. Like his father, he was active in Florence for much of his life, yet although he had been trained in sculpture, his career was largely spent as the leading portrait photographer in Florence. Flora is clearly indebted to Hiram’s allegorical busts such as Proserpine. However, Longworth moves away from his father’s classicism towards a softer and more romantic ideal, the intricate pattern on Flora’s dress being perhaps inspired by Florentine Renaissance portraits.