ATTRIBUTED TO PIERRE-ETIENNE MONNOT (1657-1733)ITALO-FRENCH, CIRCA 1700 | Relief with Flora

Overall the condition of the marble is good, with some wear and dirt to the surface consistent with age. The surface of the hair and background is textured, whereas the face is smooth, seemingly consistent with the finish of the marble. There are some losses to the hair and garland at the top. There is a further minor loss to the edge on the left side, and a reattachment to the hair at the edge on the right side. There are a few further minor chips and abrasions at the edges. There is particular dirt in the crevices of the hair, and a small mark at the top of the forehead. There is veining to the marble, consistent with the material. There is an old metal strut, as well as some plaster fill, to the reverse. There are a few chips to the edges of the socle.
"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."

Born and educated in France, Pierre-Etienne Monnot moved to Rome around 1687, establishing a successful career as a sculptor in the Eternal City. Foremost among his distinguished international clientele was Karl, Landgrave of Hesse-Kassel (1654-1730), who entrusted him with the lavish decoration of the Marmorbad in Kassel. Another important patron of the sculptor was the Englishman John Cecil, 5th Earl of Exeter (circa 1648-1700), for whom Monnot produced an elaborate tomb. Monnot was clearly valued by his patrons not only for his architectural and decorative designs, but for his considerable talent in executing busts; both Hesse-Kassel and Exeter commissioned portrait busts from the sculptor. The present relief finds a strong comparison comparison in a Bust of Flora, signed MONNOT FEC ROMA, which is similarly garlanded and has a wistful expression (Avery, op. cit., fig. 3). The relief is particularly close to a series of reliefs with Bacchants surmounting columns in the Octagonal Room of the Vatican Museums, which are likewise wreathed, have shallow truncations, and fill most of the field of relief, and are likewise associated with Monnot by Avery (op. cit.).

RELATED LITERATURE
S. Lami, Dictionnaire des sculpteurs de l'école française sous le règne de Louis XIV, Paris, 1906, vol. 2, pp. 381-384; R. Enggass, Early Eighteenth-Century Sculpture in Rome, University Park and London, 1976, pp. 77-88 This lot is the subject of a scholarly report by Dr Charles Avery dated 31 December 2017. The report is available upon request.