Raffaello Monti

Overall the condition of the marble is good. There are some minor inclusions to the surface consistent with the material. The fingers on the proper left hand are chipped. There are some minor chips to the toes of the proper left foot. There is some light staining to some areas of the marble, for example to the drapery at her right hand. There are also a few minor chips to the edges of the drapery and a chip to the edges of her drapery at the top of her head.
"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."

Raffaello Monti settled in England in 1848, escaping the political struggles which his native Italy was at that time undergoing. His sculpture received popular acclaim when he exhibited several pieces at the Great Exhibition of 1851. One of these was his original Circassian Slave, now untraced. Another reduced version is in the Wallace Collection. This model and his Vestal Virgin, commissioned by the Duke of Devonshire, made the virtuoso carving of the veiled female form his trademark. 

RELATED LITERATURE
A. Radcliffe, Monti's Allegory of the Risorgimento, Victoria & Albert Museum Bulletin, vol.1, no. 3 July 1965, London, pp. 25-38