the proud powerful animal striding forward with front left leg raised, head turned slightly to the left, the integrally cast tail curled up on the hindquarters, upon later black slate base.

The Edward M. Pfleuger Collection, New York

Mobay Corporation

Private Collection

Extensive remains of reddish-gold translucent varnish. Needs proper cleaning. Minor surface abrasions. Beautifully finished.
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

C. Avery and A. Radcliffe, Giambologna 1529-1608:  Sculptor to the Medici, (exh. ca⛎t.), Arts Council of Great Britain, London & Vienna, 1978, no. 177, 178

A. Radcliffe and N. Penny, Art of the Renaissance Bronze 1500-1650: The Robert H. Smith Collection, London, 2004, no. 9

Inspired by classical models and reborn in the workshop of Giambologna, the popular model of the pacing bull was probably concieved as a pendant to the pacing horse. A bull is first documented in 1573 and was likely made for Grand Duke Cosimo I de' Medici. Dhahens considered the variant in the Bargello (Avery/Radcliffe, op. cit., no. 177) as the only autograph model by the master but another previously unknown autograph version came to auction in 2000 (Sotheby's London, July 5).  The more robust animal seen in those two versions was the forerunner of the upright and slender model represented by the present bronze.  Giambologna's principle assistant, Antonio Susini, is responsible for the refinement of the earlier version, and the more elegant animal of the Susini models holds his head high, with a less pronounced dewlap.  The present cast displays the fine chasin♈g, delicate tool marks and reddish-brown patina consistent with the work of Gian Francesco Susini, who inherited the workshop of his uncle Antonio upon his death in 1624.