Italian, probably Florentine late 18th/19th century

Integrally carved on rectangular base,



 

The porphyry is in good condition with chips and slight losses to the base commensurate with age. There is evidence of a thinly applied layer of a dark paint-like substance evident on top the Rhinoceros' back and in some crevices. Additionally, the bottom of the base shows scoring and remnants of glue.
"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."

It was not until the arrival in Holland, in 1741 of an Indian Rhinoceros and its subsequent tour of European capitals between 1746 and 1758 that the more realistic depiction of the exotic animal appears in European art. Until that time it was largely the Dürer engraving of 1515 which followed the first arrival of the animal in Europe, starting in Lisbon, which served as inspiration.

The earliest record of a European sculpture of a rhinoceros is the marble relief dating to circa 1548 after an engraving based on the Dürer original by the Florentine artist Enea Vico (1523-67). The relief which at one time was thought to be an antiquity is in the Museo Nazionale in Naples. Further sculptural examples include the animal in green serpentine marble incorporated in the grotto by Tribolo at the Villa Castello in Florence; the large fountain with the head of the beast by the Florentine Francesco Camilliani of circa 1560, now in the Piazza Pretoria in Palermo as well as the detail of a rhinoceros on the bronze door of Pisa Cathedral, circa 1602, and attributed to a sculptor working within the circle of Giambologna.

The present animal,which does not include the extra horn on the withers, between the shoulder blades of the beast, and which is found on the Dürer prototype, follows more closely those found in engravings and paintings which resulted from the arrival of the " Dutch" rhinoceros. Note in particular the prints by Douwe Mont of 1746 and the drawings and paintings of the animal in Paris by Jean Baptiste Oudry after which engravings were made.  When in Italy the animal travelled to Rome, Bologna, Milan, Verona and Venice.

RELATED LITERATURE
T.H.Clarke, The Rhinoceros, from Dürer to Stubbs 1515-1799, London 1986,  figs. 76-80, pp.47-68 and 107-136