with the inscription BONAPARTE PREMIER CONSUL DE LA RÉPUBLIQUE FRANÇ. OF.C carved beneath his shoulder.

Some losses and restorations and regluing throughout (some glue visible). Trophies may have been reattached. Small losses include one snake from the caduceus and most of the strings of the harp in the upper trophy, sections of the beaded frame outside of the trophies, and one of the visible sections of the string of disks, another section loose but in place. Some losses to leafy branches. Some of the letters in the inscription damaged or missing, most of which are completed or replaced with paint. Separation at the corners of the inner frame. Some wear and abrasions to outer box frame. Otherwise overall seemingly stable. Beautifully carved.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The design of the border of the present relief was used on a larger scale in much of Bonzanigo's furniture made for the antechamber of the apartment of the king in the Savoy hunting palace at Stupinigi, but it is uncommon in his microsculptures.

An almost identical relief signed by one of Bonzanigo's assistants, Morizio Bianco di Torino, known as Maurice Blanc, probably exhibited in April 1805 during Napoleon's tour through Turin, was sold fro🅰m an important private collection in Hanover by Sotheby's, Amsterdam, March 27, 200⛄7, lot 1208.

Giuseppe Maria Bonzanigo is best known for the highly skilled and intricate carving seen in this relief. He was greatly influenced by the neoclassical Italian style of furniture and architecture in Asti where he trained as a cabinetmaker and sculptor under his father. Eventually he moved to Turin where he developed a relationship with the House of Savoy and Victor Amadeus III of Sardinia, Duke of Savoy (1726-1796), who, named him royal sculptor in 1787. He served in this position until the French invasion in 1796 and he was re-instated in the Savoy court after the fall of Napoleaon in 1815.

RELATED LITERATURE
C. Bertolotto, et al., Giuseppe Maria Bonzanigo: intaglio minuto e grande decorazione (exh. cat.), Pinacoteca civica, Asti, 1989
G. Ferraris, Giuseppe Bonzanigo e la scultura decorativa in legno a Torino nel periodo neoclassico (1770-1830), Turin, 1991