French, circa 1600

Overall the condition of the stone is good. There is wear and dirt to the surface consistent with age with some dust in the crevices. The figure was covered with a terracotta-coloured slip which has largely worn off. There are several chips and nicks to the edges including around the proper left jawbone, nos and eyebrow, the edges of the hourglass and edges of the underside. There are iron rods for the original mounting to the rop and left side, the modern mount is screwed in to the reverse in three places. There is some minor wear to the edges of the base.
"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 impressive figure of Death recalls the famous skeleton from the tomb of René de Chalon, Prince of Orange at St Étienne in Bar-le-Duc, Lorraine, which was sculpted by Ligier Richier (c. 1500-67) in circa 1544. Representations of skeletons were extremely popular in 16th- and 17th- century France, probably as a result of German influence. Hans Holbein the Younger's Dance of Death print series (see previous lot) had been disseminated widely from the early 16th century, providing artists with numerous compositions involving skeletons. Skeletons draped in robes, analagous to the present sculpture, appear in a fesco of the Danse macabre at the church of La Ferté-Loupière in Yonne, Burgundy (France 1500..., op. cit. p. 269, fig. 60). Such memento mori images fulfilled the function of reminding the pious of the transience of existence. The present figure is likely to have adorned a tomb or epitaph. As well representing the brevity of life (denoted by the hourglass), its deeper message would have been one of hope, for the live skeleton was also a symbol of the Resurrection and a reminder, therefore, that the deceased person would live on after death.

RELATED LITERATURE
France 1500. Entre Moyen Age et Renaissance, exhib. cat. Grand Palais, Paris, 2010, p. 269, fig. 60