supported by three cherubim and a winded cherub-head, the saint wears the scallop shaped badge of St James on his left collar and emotionally rests his hands on his chest

There are some losses including the wings of the angels on left and right, the left angels's proper left foot and both feet of the right angel. The left angel appears to have been reattached, there is an area of loss to the proper left side of his face and to the saint's proper right shoulder. Otherwise the condition is good.
"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."

The mannered and intense style of this Flemish terracotta is indicative of the modelling of Jean Delcour of Liège.  A pupil of Roobert Arnold Henrard, Delcour studied briefly in Rome and possibly with Bernini who had a profound influence on the Flemish sculptor's work.  There has also been mention made that his penchant for classicism is akin to the style of Alessandro Algardi and François du Quesnoy.

The present terracotta appears to be one of Delcour's working models for a wood or marble ensemble in a church.  Intriguingly, in an intensely baroque detail, the sculptor has included an extra leg at the back of the group on the Saint's right side.  This addition probably indicates that the group is a working model and its extension in the round, with further figures behind the Saint, may at one point have been considered.  Delcour was remarkably prolific although he did not benefit from a workshop and only had one known student.  He executed marbles for the interiors of the churches of St Paul, Liège, St Martin, Liège and the abbey church at Herkenrode. 

The Saint can be identified as Roch from the pilgrim's cockle shell on his left shoulder and the wound on his left leg, which an angel tenderly touches.  A terracotta modello of St Roch attributed to Delcour (Church of Saint Anthony, Liège) depicts the standing figure in of comparable form and dress to the present St Roch.  However, the apotheosis is a much more dramatic representation, exhibiting the sick and impoverished Saint in receipt of divine intervention.

RELATED LITERATURE
R. Le Suisse: Le Sculpteur Jean del Cour, sa vie, ses oeuvres, son évolution, son style, son influence: Etude historique, esthétique et critique (Nivelles, 1953); P. Colman, 'Jean del Cour,' De beeldhouwkunst in de eeuw van Rubens (Brussels, 1977), pp. 47-60