within circular wood frames, each relief depicting the profile head of a man, the beardless man turning to the right, the bearded man turning to the left

There is some minor surface dirt and wear consistent with age. The frames have some wear and minor worming.
"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 pair of Flemish terracotta portrait roundels were attributed by John Pope-Hennessy to the great Flemish baroque sculptor, Artus Quellinus (verbal communication to present owner).  Both of the portraits are lively and dynamic in their execution and, as such, appear to have been modelled from life.  Indeed the articulation of the physiognomy in the present two reliefs compares well to Quellinus's known terracottas (Brussels 1930 pp. 146-154).

Quellinus's career began in the Antwerp studio of his father and in 1634 he journeyed to Italy for five years to work in the Rome studio of François du Quesnoy.  Once he returned home the influence of Flemish realism as interpreted by Rubens and his followers becomes manifest in Quellinus's sculpture.

By the late 1640's, however, Quellinus had moved to Amsterdam where he executed his greatest works. Stylistically, the present reliefs appear to have been modelled during this period of his career. Quellinus spent the twilight of his life back in his hometown of Antwerp.  

RELATED LITERATURE
J. Gabriels,  Artus Quellinus de Oude (1930); J. Leeuwenberg and W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, (Amsterdam: Rijksmuseum, 1973) pp. 206-231; La Sculpture au siècle de Rubens (Brussels, Musées Royaux Beaux-Arts, 1977), pp. 142-57, 158-67ไ, 169-71