Workshop of Girolamo della Robbia (1488-1566), Italian, Florence, 16th century

with two old paper labels inscribed: 39 and: 136

Overall the condition of the terracotta is good with minor dirt and wear to the surface consistent with age. There are some losses to the glaze, including to the proper left shoulder, to the edges, to the hair, nose and beard. There are small air bubbles in the glaze. There are also a few small lacunae in the glaze. The proper right eye has been repainted. There are some restorations to the back of the sculpture; an area to the proper right at the back appears to be reattached. There is dirt and wear to the base consistent with age. There is past worming to the wood, which has led to losses at the front and back. There are also a few stable splits, consistent with the material.
"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 fine bust compares with a number of works attributed to Girolamo della Robbia, in particular his Bust of a Man in the J. Paul Getty Museum, Los Angeles (Inv. no. 95.SC.21). The Getty bust is thought to be one of a number of busts of classical heroes or rulers recorded as having been made by Girolamo for the Château d'Assier, in southern France. The present bust and the Getty figure share the same shallow truncation, cut off at the shoulders, whilst the dense, stylised beard compares with that of a bust attributed to Girolamo in the Musée du Louvre, Paris (Inv. Camp. 37). Traces of purple-blue glaze to the proper right shoulder may suggest that the present figure was set against a medallion of that colour, as is believed to have been the case with the Getty bust.

The present lot is offered with a thermoluminescence analysis report from Oxford Authentication Ltd dated 26 January 2012 stating that the sample (No: N112a21) was last fired between 400 and 700 years ago, i.e. between 1312 and 1612 AD.

RELATED LITERATURE
P. Fogelman, P. Fusco and M. Cambareri, Italian and Spanish Sculpture: Catalogue of the J. Paul Getty Museum Collection, Los Angeles, Los Angeles, 2002, no. 4, pp. 24-29; J-R Gaborit and M. Bormand, Les Della Robbia: Sculptures en terre cuite émaillée de la Renaissance italienne, exh. cat. Musée national Message Biblique Marc Chagall, Nice, Musée national Céramique, Sèvres, Paris, 2002, nos. 1, 2, pp. 46-8