Lot Essay
The present gilt-bronze figure appears to be the finest example of this model yet known. Several other lesser quality examples exist, among them an example in the Kölnisches Stadtmuseum (which has been attributed in the past to Adrien de Vries), one sold in these Rooms, 18 May 1967 (described as 'in the manner of Baccio Bandinelli'), and two inferior casts offered in Venice (Franco Semenzato & C., 7 June 1986, lot 152) and London (Sotheby's, 10 December 1981, lot 131). None exhibits the goldsmith-like quality of this bronze.
In terms of modelling and facture, the bronze is closely related to a number of other pieces, all of which have hitherto defied an accepted attribution. Perhaps closest is the model of a standing figure of Hercules, sold in these Rooms 4 July 1989, lot 128 (¨85,000); it displays the same taut musculature, twisting pose, and distinctively worked oval plinth. More recently, another gilt-bronze model, this time of a drunken Hercules, was sold at Sotheby's (9 December 1993, lot 106 (¨95,000)). Although exhibiting a looser handling of the figure, which may be explained by the subject of the bronze, it displays the same high degree of chasing, and an identical plinth to the one mentioned above. The latter figure was attributed to the circle of Manno di Sebastiano Sbarri, based on its similarity to the figure which surmounts the celebrated Farnese Casket (see Hayward, loc. cit.). An attribution for the present bronze may still elude us, but its quality cannot be doubted.
In terms of modelling and facture, the bronze is closely related to a number of other pieces, all of which have hitherto defied an accepted attribution. Perhaps closest is the model of a standing figure of Hercules, sold in these Rooms 4 July 1989, lot 128 (¨85,000); it displays the same taut musculature, twisting pose, and distinctively worked oval plinth. More recently, another gilt-bronze model, this time of a drunken Hercules, was sold at Sotheby's (9 December 1993, lot 106 (¨95,000)). Although exhibiting a looser handling of the figure, which may be explained by the subject of the bronze, it displays the same high degree of chasing, and an identical plinth to the one mentioned above. The latter figure was attributed to the circle of Manno di Sebastiano Sbarri, based on its similarity to the figure which surmounts the celebrated Farnese Casket (see Hayward, loc. cit.). An attribution for the present bronze may still elude us, but its quality cannot be doubted.