Italian, Rome, late 18th/ early 19th century

Overall the condition of the marble is very good with minor dirt and wear to the surface consistent with age. There is some light veining to the marble consistent with the material, notably around the chest. There are a few small naturally occurring inclusions, including to the proper left side of the face and the drapery around the proper left shoulder. There are a few minor chips and abrasions, including to the high points of the leaves, to the collar on the proper left side, to the high points of the drapery around the proper left shoulder, and to the bottom edge of the bust above the socle. There are also a few minor chips to the edge of the truncation. There a few minor restorations to the vine leaves framing the face on the proper right side and above the forehead, and another very minor restoration to the top of a leaf on the proper left side. There are a few dirt marks at the back. There are a few very minor chips and some dark marks to the socle, as well as a naturally occurring inclusion. The back of the truncation on the proper right side is inscribed '3' in black ink. There is an area of minor scratching and darkening to the truncation on the proper right side.
"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."

Melpomene, the ancient Greek Muse of Tragedy, was, as here, often represented with abundant hair garlanded with vines, referencing the Dionysiac origin of the art form and the exaggerated masks worn by tragedic actors. The present, exuberant, bust copies a Roman full-length statue of the Melpomene dating to the 2nd century AD, now in the Vatican Museums, which shows the Muse in elaborate Greek dress, presenting a tragedic mask in her right hand. Discovered in the Villa di Cassio near Tivoli in 1774, the statue appears to have achieved instant recognition and inspired various copies by neoclassical sculptors active in the Eternal City. Melpomene was among eight antiquities chosen by Baron Theodor von der Ropp in 1804 to serve as models for commissions after the antique from Bertel Thorvaldsen (1770-1844), who was then in the early stages of his illustrious career. Thorvaldsen’s bust of Melpomene, whose present location is unknown, survives in a photograph from 1927. Though not identical with the present bust, Thorvaldsen’s version is so similar in form as to indicate that both busts originated in the same milieu. The finesse of its carving suggests that the present bust could be the work of a talented sculptor from Thorvaldsen's circle.

RELATED LITERATURE
E. J. Bencard, Ropp’s Commission 1804-05, http://arkivet.thorvaldsensmuseum.dk/articles/ropps-commission-1804-05