Italian, late 16th/ early 17th century

with the fragmentary remains of an old collection label to the interior

Maurice Kann, Paris, by 1910
his sale, George Petit, Paris, 5-8 December 1910, lot 372
sold Hôtel Drouot, Paris, 17 June 1986

Overall the condition of the bronze is very good with minor dirt and wear to the surface consistent with age. There are some minor casting flaws to the bronze, notably to the drapery below the beard. There are a few nicks to the surface, including to the nose. There are a few lacunae, including behind the proper left ear. There are a few small original plugs, including a slightly visible one in the middle of the forehead. The edge of the bronze is rough, there may be some losses to the edge of the drapery at the back. There are two drill holes in the drapery (proper right shoulder and behind the head). There are a few scratches and areas of wear to the base.
"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."

This superb bronze portrait bust was catalogued as Flemish when it was sold in 1910 and again in 1986, at which time it was related to the sculptures of Hendrick de Keyser (1565-1621). The facture of the present bronze, which has been skilfully modelled in wax, thus requiring very little chasing after casting, would nonetheless suggest an Italian origin. The sculptor's veristic approach to representing his sitter is comparable with mid- to late- 16th-century Venetian portrait busts, particularly those by Danese Cattaneo (c. 1509-1572) and Alessandro Vittoria (c. 1525-1608). Note, for example, Cattaneo's Portrait Bust of a Venetian Gentleman in the Toledo Museum of Art (inv. no. 1995.11). Many of Cattaneo's busts share with the present bust the prominent eyebrows and the almost frowning expression. The all'antica drapes find a parallel in a bust by Cattaneo in the church of S. Giovanni Evangelista, Venice (de Angelis, op. cit. fig. 37). The striking realism of the present bust, is particularly close to the work of Alessandro Vittoria; compare with Vittoria's bust of Ottavio Grimani in the Bode Museum, and, also his bust of Palma il Giovane from the Dirkens collection, Berlin (Planiscig, op. cit. pp. 483 and 509, figs. 512 and 550).

Given that the present bust has no original structural support and the fact that there are holes in the back of the shoulders, it is likely that it was mounted into a niche within a larger monument, probably a tomb. The plain, classicising cloak, which is draped across the shoulders, would indicate that the sitter was a scholar or cleric.

RELATED LITERATURE
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 483 and 509; A. Bacchu (ed.), La scultura a Venezia da Sansovino a Canova, Milan, 2000, pls. 60, 72, 183-199; A. de Angelis, 'Danese Cattaneo's portrait bust of Girolamo Giganti*', Burlington Magazine, 1185 CXLIII, December 2001, pp. 747-752; A. P. Darr, 'A Pair of Large Bronze Deities in Detroit: New Research and an Attribution to Danese Cattaneo', P. Motture (ed.), Large Bronzes in the Renaissance, New Haven, 2003, pp. 215-239