French, 18th century

Overall the condition of the relief is good. There is minor wear and dirt to the surface consistent with age, including some minor chips and scratches. There is some minor veining visible to the surface consistent with the material, particularly to the background on the left side. There are two stable hairline fissures on the surface consistent with material to the back of the figure's head. There is also a patch of scratches to the background behind the sitter's the head. There is a small chip to a curl behind the sitter's ear. There is a slight fissure to the right side of the frame consistent with the material. There are three chips to the edge of the frame on the reverse. There is an iron hook for mounting to the back of the frame. There is a composite filling to the centre of frame at the back
"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 relief is notable for its virtuoso carving and highly finished surface. The locks of hair are carved in high relief and are pierced with drill holes, creating a chiaroscuro effect. Conceptually, the relief is reminiscent of roundels and coins with profile portraits representing Louis XIV and Louis XV, such as the marble relief of Louis XIV aged 46 by Pierre Puget (1620-1694) at Versailles. Stylistically, however, the Baroque treatment of the hair and idealised facial features place the present relief closer to the work of Nicolas Coustou (1658-1733) and his brother Guillaume (1677-1746). Compare, for example, with the head of Adonis in Coustou’s Chasseur au repos (Musée du Louvre, inv. no. MR 1796); note the comparable high relief treatment of the hair and ears. Compare also with the portrait bust of Louis XVI in Coustou’s marble relief entitled, Le Dieu de la Santé montre à la France le buste de Louis XIV, roi de France, dit aussi Allégorie rappelant la guérison du roi (Louvre, inv. no. MR 2735). A further comparison can be made with Guillaume Coustou’s portrait relief roundel adorning the tomb of the Maréchal d’Estrées (Souchal, op. cit. pl. 23c).

RELATED LITERATURE
F. Souchal, Les frères Coustou, Paris, 1980, pls. 16b, 23a-d, 49b; J-R Gaborit, G. Bresc-Bautier, I. Leroy-Jay Lemaistre and G. Scherf (eds.), Sculpture française II – Renaissance et temps modernes. Vol. 1 Adam-Gois, cat. Musée du Louvre, Paris, 1998, pp. 161-70