Italian, probably Veneto, 16th century

with a label on the reserve inscribed: PORTRAIT OF A LADY / Marble-Greek (400) B.C. [illegible in pen] / Frame- XVI Century Italian; remnants of another label, and a paper cutting depicting a herm bust of Plato with caption

Overall the condition of the marble is good, with minor dirt and wear to the surface consistent with age. It may be assumed that the portrait relief was formerly mounted in a different context. There is a loss to the woman's chignon. There is some veining to the marble, consistent with the material, notably to the woman's temple and hair. There are also a few very small naturally occurring inclusions. There is some minor greenish and reddish residue to the hair. There is an small area of inclusions with some dirt to the marble background at the bottom left corner. The gilt wood frame is in good condition, with some dirt and wear, including slightly open but stable joins and a few very minor losses.
"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."

All'antica portraiture in marble flourished in the Veneto during the first half of the 16th century, led by the Lombardo family of sculptors, as well as Simone Bianco (active 1512-1553). The present marble relates in particular to a profile relief of Faustina attributed to Simone Bianco, similarly cut out from its background and with an analogous truncation, sold in these rooms on 9 July 2015 as lot 73. While both the Lombardi's and Simone Bianco's figures share a distinct facial type with usually incised irises, contrasting with the present relief, several classicising marble portraits by their followers display a more faithful adaptation of antique models (see Luchs, op. cit., figs. 118, 130, 133; compare also some of Simone's busts, figs. 178 and 184). 

RELATED LITERATURE
A. Luchs, Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490-1530, Cambridge, 1995