holding the lyre and with his right foot resting on a block.

David Peel and Cyril Humphris, London

J.J. Klejman, New York

RELATED LITERATURE

L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921.

C. Kryza-Gersch, "Original ideas and their Reproduction in Venetian Foundries: Tiziano Aspetti's Mars in the Frick Collection- A Case Study," in Small Bronzes in the Renaissance, National Gallery of Art, Washington, New Haven and London, 2001, p🍨p.143-157.

K. Zock, European Sculpture, Daniel Katz, ltd., London, 2002, no. 13, pp. 84-8𒀰9.

Nicely chased throughout. Gilding rubbed in areas. Some small holes or original casting flaws: under his left arm, on right heel (and base plate is lacking from underside of right foot), and small areas near hand on lyre. Back end of implement in right hand lacking. Old plugs in base. Later marble base.
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 stance of the present figure, the body type and modelling, and the facial type recall the work of Venetian sculptors knowledgeable of Florentine traditions, such as Jacopo Sansovino and Alessandro Vittoria. The thicker thighs, posture and tilt of the head also recall the models of Tiziano Aspetti, his figures of Mars and Venus in particular (Kryza-Gersch,op.cit., figs.3 and 11). The present bronze, however, is more highly finished and more finely chased than many typical late 16th and early 17th century bronz🧔es from the North.

Another cast, not gilt, with the same thin circular base but with slightly more slender and elongated limbs and torso, suggesting an origin outside of Venice and the north, was with Daniel Katz, Ltd., London (see Zock,op.cit.). That bronze was attributed to Francavilla, a Fleming who moved to Florence and collaborated with Giambologna. Zock discussed the use of the circular base plate, seen in Francavilla's Flayed Man in Cracow, and the body type as well as the composition so dependent on Giambologna's oeuvre.  An ungilt version of this model was sold in these rooms June 1, 1991, lot 87 an🌃d another cast, probably later, is preserved in the Metropolitan Museum of Art.