Attributed to George M. Miller (d. 1819) American, early 19th century

Overall the condition of the marble is good with some dirt and wear to the surface consistent with age. There is minor veining to the marble consistent with the material, including to the proper right side of the neck below the chin. There are a few very small naturally occurring inclusions, including to the proper left eyebrow and to the tip of the nose (with some dirt). There are a few small chips and abrasions to the headdress, including to the band at the front and to the back. There is some slight brownish staining to the marble, in particular to the top of the head. There are a few dirt marks, including a stain to the proper right side of the forehead, pencil marks to the proper right shoulder, and further dirt marks to the back. There is some paper residue to the proper right shoulder at the back, and there is some sticker residue at the chest. There are a few chips and abrasions to the edges of the truncation of the bust, including at the front.
"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."

A plaster version of this serenely classicising bust is in the Athenaeum in Philadelphia. It is recorded as having been delivered by the sculptor George M. Miller to the institution in 1814, along with several other busts in plaster. Miller had emigrated to Philadelphia from Scotland in the 1790s and focused his career on wax portraiture, as well as lifesize busts. As the present work suggests, his training appears to have been rooted in early neoclassicism. Note the refined features and the extraordinary imagination with which the hair and headdress are treated.

RELATED LITERATURE
W. Craven, Sculpture in America, New York, 1968, p. 56