Italian, 18th century

the banner inscribed: DE. HUMANIS. CORPORIS. FABRICA (on the fabric of the human body)

Overall the condition of the wax is very good, with dirt and minor wear to the surface consistent with age. There is particular dirt to the crevices and to the underside of the nose. There is a small reattachment to the neck. There is some yellowing to the wax around the skull and to the proper right side. The gilt wood frame is in good condition, with minor dirt and wear. There is minor evidence of past worming. There are a few chips and scratches, in particular to the high points and the edges. There is some stable splitting to the wood, consistent with the material.There is a metal bracket and a hook for mounting to the reverse.
"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 practice of anatomical wax modelling originated in the Italian university centres of Florence and Bologna, with documented prototypes created by the Florentine Mannerist sculptor Lodovico Cardi 'Il Cigoli' (1559-1613) and Gaetano Zumbo (1656-1701). The 18th century saw an increase in the production and use of anatomical waxes as a means to train doctors, surgeons and midwives. Bologna and its eminent university were at the forefront of this movement, producing masters in this skill such as Ercole Lelli (1702-66) and Giovanni Manzolini (1700-55). It was their work that inspired the Florentine sculptors at La Specola, who were driven by the efforts of the surgeon Giuseppe Galletti.

With its philosophical rather than anatomical focus, the present head appears to have been intended for a vanitas context and may have been kept in a cabinet of curiosities. An analogous, though non-Italian, head is in the Wellcome Collection, London (inv. no. 240/1942). The inscription on the banner quotes the title of a seminal treatise on human anatomy by Andreas Vesalius (1514-1564), first published in 1543. 

RELATED LITERATURE
M. von During, M. Poggesi, G. Didi-Huberman, Encyclopaedia Anatomica, Museo La Specola Florence, Cologne, 2004