Attributed to Giambologna (1529-1608), cast by Antonio Susini (1558-1624), Italian, Florence, late 16th century

Church of the Certosa, Galluzzo, near Florence, until circa 1799;
Art market, Berlin, c. 1950

H. Keutner, 'Die Tabernakelstatuetten der Certosa zu Florenz', Mitteilungen des Kunsthistorischen Institutes in Florenz, 7. Bd., H (Aug., 1955), pp.139-144, fig.10

Overall the condition of the bronze is good. There is some wear and dirt to the surface consistent with age. There are a few minor nicks and scratches including to the toes of both feet, to the drapery behind the proper right calf, the fold over the button on the proper right thigh and at the top edge of the proper right wing. There is a joint vsible on the proper right hand. The proper right wing is slightly loose. Some of the fingers are slightly bent. There are a few minor chips to the base and a loss and a restoration to one of the corners.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In 1596 Giambologna was commissioned by the monastery of the Certosa at Galluzzo, outside Florence to provide figures on a sacramental tabernacle or ciborium.  The Risen Christ (now Metropolitan Museum, New York) was accompanied by bronze statuettes of the four Evangelists (St John and St Matthew, now also Metropolitan Museum, New York; and further versions in Braunschweig, Madrid and formerly in the collections of the Duchess of Lemos, Spain and the Charles Loeser collection, Florence), as well as six angels. Whilst the commission was in the name of Giambologna, Antonio Susini is specifically named in the production of the 11 bronzes.  The Certosa ciborium appears to have been dismembered during the Napoleonic period, because the first and last source to mention the statuettes in situ is Domenico Moreni in 1791; certainly by 1883 they are recorded as lost.  Whilst Baldinucci, writing in the late 17^th century, notes that only one of the Evangelists is based on a Giambologna model, in fact Susini seems to have relied on Giambologna models for possibly the Risen Christ, St John the Evangelist, and the present figure of an angel. The latter is, in fact, closely related to Giambologna's own large bronze of an angel for the chapel of St Antonio in San Marco, Florence, cast a decade earlier.

Only four of the original six angels are known to the present author. Two were sold in Christie's, New York in October 1994 for $657,00. Another now in the National Gallery Australia, Canberra was sold in these rooms 13 December 1979, lot 88. The latter is mounted on an identical marble base to the present angel which indicates they were once presented as a pair.  The present bronze angel is cast with wonderful precision and delicacy, characterisitic of the hand of Antonio Susini.

RELATED LITERATURE
B. P. Strozzi and D. Zikos, Giambologna gli dei, gli eroi, exh. cat., Florence, 2006, p.114, fig. 14;
C. Avery, Giambologna. The Complete Sculpture, London, 1993, no nos. 101-106, p. 265, p. 198, fig. 224;
C. Avery and A. Radcliffe, Giambologna. Sculptor to the Medici, exh. cat., London, 1978, no. 112, p. 147