Attributed to Lorenzo Ottoni (1658-1736) Rome, late 17th century

on associated 18th century terracotta socle

Purchased in the 1920s, probably in Rome, by Dr. Oskar Sitte, then ascribed to Domenico Guidi;
Thence by descent

Condition very good with no evidence of restoration
"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 finely executed terracotta bust follows the traditional conventions of Roman papal portraiture inaugurated by Bernini and Algardi.  At its small-scale this modello of Innocent XI (1611-1689) would have been made as a preparatory sketch for a marble bust to be presented before the patron gave his assent for the final commission. The Pope is shown with his head turned slightly to the right, wearing a fur trimmed mozzetta as well as an embroidered stole held by a cord and fastened with a toggle across the chest.  As yet no marble of the present likeness is known and it may well be that it was never transferred to a less fragile medium. 

This terracotta was first recorded when it was purchased in Rome in the 1920s, at which time it was ascribed to Domenico Guidi. Certainly, it resembles the portrait busts of two earlier Popes by Guidi, both the terracotta bust of Innocent X in Palazzo Doria Pamphilij attributed to Guidi by Bershad (1970), and the bust of Alexander VII in Palazzo Chigi. A marble bust of Innocent XI attributed to Guidi formerly with the Heim Gallery (Summer 1976) and illustrated by Bershad (1973) is, however, completely different. 

The less agitated treatment to the drapery of the mozzetta can be more convincingly compared with that used by Lorenzo Ottoni in his busts of Pope Urban VIII in the Museo di Roma, and the Alexander VIII in the Liebieghaus, Frankfurt am Main, illustrated by Giometti. Ottoni trained with Antonio Giorgetti and later with Ercole Ferrata. He was elected to the Accademia di San Lucca in Rome in 1691. He is recognized for his sensitive and detailed portraits.

Pope Innocent XI was born Benedetto Odescalchi at Como in 1611, and was educated there by the Jesuits. He studied law at Rome and Naples. In 1647, Pope Innocent X (1644–55) made him Cardinal Deacon with the title of Santi Cosma e Damiano. In 1650, Odescalchi became bishop of Novara, in which capacity he spent all the revenues of his see to relieve the poor and sick in his diocese. With the permission of the pope he resigned as bishop of Novara in favour of his brother Giulio in 1656 and went to Rome where he played a prominent part in the consultations of the various congregations and he remained there until his election to the papacy in 1676. He died in 1689 and was buried in St. Peter’s. His tomb there was sculpted by Pierre Etienne Monnot (1657-1733).

RELATED LITERATURE
David L. Bershad, 'A series of Papal Busts by Domenico Guidi', Burlington Magazine, December 1970, pp.805-809, figs.18-28; David L. Bershad,'Two additional Papal busts by Domenico Guidi', Burlington Magazine, 1973, pp.736-739; E. Bianca di Gioia, 'Domenico Guidi: Un Modello in Terracotta per un Ritratto di Papa Innocenzo XII Pignatelli al Museo di Roma'; A. Roth, 'A Portrait Bust of Maffeo Barberini, Prince of Palestrina', Apollo, 1985, pp.24-31; C. Giometti, 'Il modello del Battesimo di Domenico Guidi e proposte per una commitenza Albani a Guidi e Ottoni', Sculture romane del Settecento, III, E. Debenedetti (ed.), Rome 2003,  fig.2, p.65