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Lot Essay
The present bronze figure of a man appears to be unique. Although numerous related figures exist within the context of Italian and French bronzes of the 16th and early 17th centuries, no other example of this exact composition has thus far come to light.
When purchased by the owner in 1968, it was described as being another version of a bronze in the Frick Collection, New York (presumably the Naked Youth with Raised Arms, see Pope-Hennessy, loc. cit.) and attributed to Camelio (d. 1537). However, although the pose of the figure is very similar, they can by no means be described as two examples of the same bronze or even by the same hand; the positioning of the legs is reversed and the physiognomy is altogether different. The Frick bronze does, indeed, represent a youth, whereas the present bronze is of a powerfully built man in his prime.
With its classicising facial features and body proportions, the figure is related to the work of the Lombardo family of sculptors active in Venice in the late 15th and 16th centuries. Although the dynasty's most famous proponent was probably Tullio, who was responsible for the celebrated figure of Adam in the Metropolitan Museum, New York, the present piece is more closely related to bronzes known to have been produced in the foundry of the brothers Girolamo, Aurelio and Lodovico Lombardo at Recanati in the third quarter of the 16th century. Among the work produced there is a tabernacle in the Cathedral at Fermo which is adorned with a figure of Christ in the centre surrounded by the twelve apostles. Although less finely chiselled than the Fermo figures, the head of this standing male nude displays numerous parallels in the abundant locks of hair, the oval facial type and the delicately rendered features.
When purchased by the owner in 1968, it was described as being another version of a bronze in the Frick Collection, New York (presumably the Naked Youth with Raised Arms, see Pope-Hennessy, loc. cit.) and attributed to Camelio (d. 1537). However, although the pose of the figure is very similar, they can by no means be described as two examples of the same bronze or even by the same hand; the positioning of the legs is reversed and the physiognomy is altogether different. The Frick bronze does, indeed, represent a youth, whereas the present bronze is of a powerfully built man in his prime.
With its classicising facial features and body proportions, the figure is related to the work of the Lombardo family of sculptors active in Venice in the late 15th and 16th centuries. Although the dynasty's most famous proponent was probably Tullio, who was responsible for the celebrated figure of Adam in the Metropolitan Museum, New York, the present piece is more closely related to bronzes known to have been produced in the foundry of the brothers Girolamo, Aurelio and Lodovico Lombardo at Recanati in the third quarter of the 16th century. Among the work produced there is a tabernacle in the Cathedral at Fermo which is adorned with a figure of Christ in the centre surrounded by the twelve apostles. Although less finely chiselled than the Fermo figures, the head of this standing male nude displays numerous parallels in the abundant locks of hair, the oval facial type and the delicately rendered features.