Italian, probably Florence, late 17th/ early 18th century

Bust with a sash: Overall the condition of the marble is good. There is dirt and wear to the surface consistent with age. There is a dark green mark on the figure's proper right breast and there are a few spots of wax and paint to the surface including at the back of the figure's hair. There is some naturally occurring veining including in the figure's face, on the proper right cheek and in the torso and neck on the proper left side. There are a few naturally occurring inclusions, including at the chest below the neck at the proper left side, one at the chin, one at the proper right eyelid and a few at the drapery at the proper left side. There is a large stable crack running from the side of the drapery at the proper left side through to the shoulder. A small area of marble has been reattached to the drapery on the proper right side. There are a few small holes at the roughed out area at the back and a hole in the top of the figure's head. There are a number of stable naturally occurring cracks and inclusions in the socle and a small loss at the back. There is a dark patch of stable flakey stone at the back of the socle where the socle meets the marble bust. There is a metal hook at the back of the figure below the neck. Bust with diadem: Overall the condition of the marble is very good. There is dirt and wear to the surface consistent with age including a few flecks of paint to the chest and a few dark spots to the figure's hair at the back. There is some naturally occurring veining in the marble, particularly to the proper left side of the figure's chest and beneath the figure's proper right cheek. There is a dark vein running through the edge of the drapery at the proper right side. There is a reddish vein or stain to the top of the head. There are a few naturally occurring inclusions, particularly in the chemise on the proper right, above the breast. There are a few losses to the edges of the drapery, including two on the drapery on the figure's chest and one on the edge of the drapery on the figure's proper left side. There are three small chips around the side on the proper right and a small chip around the side on the proper left. There are a number of small holes in the roughed out area on the edge of the bust at the back. There is a scratch at the figure's proper left cheekbone and some marks under the chin. There is a very small orange spot on the figure's proper left breast and a few very small spots to the top of the head. There is a metal hook in the back of the sculpture below the neck. The condition of the socle is good, with dirt and wear. There is a small loss at the back. Pair of columns: Overall the condition of the columns is very good. There is dirt and wear to the surfaces consistent with age, including a few flecks of paint at the bases and bottoms of the columns. There are chips and scratches to the edges of the bases of the columns, including losses at the corners. There are chips and scratches throughout to the bottoms of the columns and also to the tops of the columns.
"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 pair of female busts and those in the next lot seem to be executed in the Florentine manner current around 1700. Busts of female gods by the likes of Giuseppe Piamontini, Giovacchino Fortini, and Giovanni Antonio Mazzuoli all rely on a volumptuous female ideal draped in thick, and often suggestively placed, fabric. Broad shoulders and a large part of the upper arm are often included in the truncation and combined with the expansive drapery give a monumental impression. Each of the busts displays finely chiselled and unpolished strands of hair, often with locks falling over the shoulder, differentiated by small drill holes to give her coiffure depth.

RELATED LITERATURE
G. Gentilini and C. Sisi (eds.), Collezione Chigi Saracini. La scultura. Bozetti in terracotta, piccoli marmi e altre sculture dal XIV al XX secolo, cat. Palazzo Chigi Saracini, Siena, 1989, vol. 2, pp. 343-344, cat. 98a; G. Pratesi (ed.), Repertorio della scultura fiorentina del seicento e settecento, Torino, 1993, vol. 3, fig. 442; C. Sisi and R. Spinelli (eds.), Il fasto a la ragione. Arte del Settecento a Firenze, exh. cat. Galleria degli Uffizi, Florence, 2009, pp. 140-141, no. 36