Attributed to Damiano Cappelli (fl. 1662-1688) Italian, Florence, mid- 17th century

the Hon. Major Richard "Hanning" Phillips, Esq.
his sale, Christie's London, 15 December 1982, lot 214

C. Avery, Renaissance & Baroque Bronzes in the Frick Art Museum, Pittsburgh, 1993, pp. 87-89, fig. 22.1

Overall the condition of the bronze is good with dirt and wear to the surface consistent with age. The goat's proper right horn is lost and the lower section of the man's attribute held in his right hand is lost (a screw hole is visible underneath). He may also have held a lost attribute in his proper left hand. The flying devil may also have held a lost attribute in his left hand. There are a number of small casting lacunae, including a large one to between the goat and the man's proper right knee. Smaller lacunae can be found to the standing devil's face and head (his horns may be cast separately), to the man's proper left hand, and in the goat's fur. There is an area of casting flaws to the top end of the man's attribute. There are a few small fissures, including to the flying devil's abdomen, where there may be plugs. The bronzes were cast in sections and joints are slightly visible at the tops of the man's arms. There appears to have been some restoration to the man's proper left arm, where there is a sticky lacquer. The devil's wings may also have been cast separately. There are a few specks of old residues, including to the standing devil. In some areas, the beautiful original rose gold patina can be clearly seen, such as to the man's drapery on his proper left side. There is wear to the associated marble base, including small chips and scratches.
"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."

When this extraordinary bronze group was sold in 1982, it was attributed to Ferdinando Tacca (1619-1686) on the basis of a comparison with a pair of boar and bull hunting groups in Budapest (Szöcs, op. cit.). These compositions were, in fact, conceived as part of a series of four, including stag and lion groups. A complete set, signed by Damiani Capelli (fl. 1662-1688), an expert bronze caster, who trained with Ferdinando Tacca, is currently in a New York private collection. It has therefore been assumed that Cappelli cast each of the known versions, and may have even been responsible for the models themselves (Warren, op. cit., p. 110-111). 

The present bronze group is indeed very close to the Cappelli groups, chiefly in the sense of movement, the Baroque gestures and in the prancing pose of the goat. Moreover, the group has a similar tableau-like quality. Two casts of the bull and lion hunting groups in the Peter Marino collection have attractive naturalistic terraces, increasing the tableau like appearance of the bronzes; it is likely that the present sculpture had a similar base. The beautiful, rose-gold lacquer on the surface of the present group is typical of Florentine bronzes. The superb chasing to the goat's coat and to the devils' heads indicates that the bronze was cast by a leading master. Given the affinities to the hunting groups discussed above, an attribution to Capelli can be confidently proposed.

RELATED LITERATURE
J. Warren, Beauty and Power. Renaissance and Baroque Bronzes from the Peter Marino Collection, exh. cat. The Wallace Collection, London; the Huntington Art Collections, San Marino; and the Minneapolis Institute of Arts, London, 2010, pp. 100-113 and 202-215, nos. 9 and 19; M. Szöcs, 'Horseman killing a bull and Horseman pursuing a boar. Two small bronzes by Damiano Cappelli in the Budapest Museum of Fine Arts', Bulletin du Musée Hongrois des Beaux-Arts, 100, Budapest, 2004, pp. 119-131