After a model by Giambologna (1529-1608) Italian, Florence, 18th century

the reverse inscribed: .Del Giambologna. in black ink

reputedly the Guadagni family, Florence;
and thence by family descent

Overall the condition of the marble is good with wear and dirt to the surface consistent with age and some particular dirt in the crevices. There are several chips to the edge of the relief particularly on the top left. Three small naturally occurring veins are visible on the lower edge of the relief and the figure's proper right wrist. The stand consists of a board with a recess for the relief and metal brackets to hold it in place and a metal bracket that lets it stand up. It has some minor wear to the grey paint.
"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 elegant relief follows a model known from a terracotta in the Sir Brinsley Ford collection, which is thought to have originally been owned by Giambologna's patron Bernardo Vecchietti. An object matching the description of the terracotta is recorded in the hands of the Guadagni family in 1729, with subsequent owners including Joseph Nollekens and Sir Thomas Lawrence, before being acquired by Richard Ford (Avery, op. cit., no. 160). Once attributed to Michelangelo, Charles Avery has since argued convincingly that the terracotta is an original composition by Giambologna, an identification first made in the 19th century by Richard Ford (Avery, op. cit., no. 160). A comparison with female nudes with similarly mannered poses in Giambologna's early Allegory of Prince Francesco de' Medici relief (circa 1561) provides a justification for Avery's thesis. The present relief compares closely with an engraving of the model by Jacob Frey published in Rome in 1743, exhibiting the same Rubensian proportions. This, together with the sculptor's concentration on the overall form of the subject rather than surface detail, would indicate that the present marble dates to the middle of the 18th century.

RELATED LITERATURE
C. Avery, Giambologna. The Complete Sculpture, London, 1993, p. 272, no. 160

The present lot is sold with an expertise by Dr Charles Avery