the balding, older man with one hand on the shell, upon moulded oval base. 

Collection Embden

Peel & Humphris, Ltd., London

J.J. Klejman, New York

RELATED LITERATURE

J.D. Draper ed., The Italian Bronze Statuettes of the Renaissance, New York, 1980 (rev.)

N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, vol.1 Italian, Oxford, 1992, nos. 243 and 244.

L. Ambrusio and F. Capobianco (eds.) La Collezione Farnese di Capodimonte, I Bronzetti, Naples, 1995, cat.no. 26.

Rubbing to gilding. Very minor pitting from cast. Two small apertures in shell. Very nicely chased.
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Two other casts, both not gilt and seemingly unfinished,  are in the Capodimonte Museum, Naples (Ambrusio/Capobianco,op.cit.) and one is illustrated by Bode (op.cit., CLXXII) as being in the Ashmolean Museum, Oxford (but in the notes it says, "whereabouts unknown"). The present gilt cast is fully chased and tooled and seems to be one of the finer examples of the model.The variant with the younger, kneeling, rather than the older standing, man bearing the shell (Penny, op.cit., nos. 243 and 244) has also consistantly been attributed to Campagna  based on his use of kneeling supporters like the angels supporting the altar of the Sacrament in S. Giuliano or the pair of angels carrying cornucopia 🐼candlesticks now on an altar of the church of the Carmini, Venice. However, many of the kneeling examples appear to be later casts.