with head turned to the right and teeth bared, olive brown patina beneath black lacquer.

Tail associated. Partially applied with later deep black / green opaque lacquer. Left hind leg with two restored casting cracks on the lower half. Two casting cracks in bottom part of forelegs wiht some restoration and re-attachment. Some abrasions and general surface wear. Minor pitting. Rich patina beneath lacquer.
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.

RELATED LITERATURE

L. Planiscig, Die Bronzeplastiken, Vienna, 1924,  no. 3

W. Wixom, Renaissance Bronzes from Ohio Collections, ex💎h. cat., Th꧃e Cleveland Museum of Art, 1975, no. 77

V. Krahn, Bronzetti Veneziani, Die Venezianischen Kleinbronzen der Renaissance aus dem Bode-Museum, Berlin, 2003, p. 239-9, no. 73

See Wixom for a lengthy discussion of the model listing the known versions.  Typically seen with a knotted tail and studs on the hooves which are absent from the present version, the composition may originate from an antique source and sometimes features a rider.  Wixom notes the precedent of the rearing horse in Bertoldo di Giovanni's Bellerophon and Pegasus group in Vienna (Planiscig, op. cit., no. 3).