Attributed to Girolamo Viscardi (1467-1522) Italian, Genoa, early 16th century

G. Gentilini (ed.), Scultura italiana del Rinascimento, cat. Giorgio Baratti Gallerie, Florence, 2013, pp. 58-63, no. 5

Overall the condition of the marble is good, with some wear and dirt to the surface consistent with age. The head of the lamb and a section of the base on the proper left side are restored. There is also a restoration to St John's proper right wrist. There are a few chips and abrasions, notably to the tip of the nose and to the back. The underside is padded with small pieces of felt.
"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 charming statuette of Saint John the Baptist is likely to originate from the workshop of Girolamo Viscardi, a Genoese sculptor whose work played an important role in the introduction of the Italian Renaissance style to France around 1500. Girolamo was first employed by Antonio della Porta before collaborating with Giovanni and Michele d'Aria on a tomb monument. During the French occupation of Genoa from 1499, Girolamo began to receive commissions from France, including in 1507 the sculptural decoration for the church of Sainte-Trinité in Fécamp. It is in the tabernacle figures at Fécamp that the present statuette finds its closest comparisons. The slight contrapposto, hair, and sloping shoulders are particularly similar to one of the niche figures illustrated by Kruft (op. cit., fig. 13).

RELATED LITERATURE
H. W. Kruft, 'Gerolamo Viscardi: Ein genuesischer Bildhauer der Renaissance', in Mitteilungen des Kunsthistorischen Institutes in Florenz, vol. 15, 1971, pp. 273-288