Anglo-Italian, 17th century Francesco Fanelli (1577-after 1641)

Sotheby's New York, 1 June 1991, lot 100

Overall the condition of the bronze is very good. There is some minor wear and dirt to the surface consistent with age. There is a joint visible at the proper left hind leg of the lion. There is a small stable fissure to the proper left hind leg of the horse. Two drilled holes in the base have been patched with wax. There is some minor wear to the surface and gilding of the metalwork on the base. Both back legs of the base are slightly loose. There is a loss to the back leg on the proper right side.
"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."

The present bronze and the previous lot provide excellent illustrations of the great decorative qualities for which Fanelli's statuettes were so appreciated in England. According to George Vertue's early 18^th-century notebooks the sculptor's bronzes 'sold to persons that were Curious, to sett on Tables cupboards shelves by way of Ornament'. Indeed several British palaces and country houses are known to have contained the Italian sculptor's lively bronzes. The ornate 17^th-century English bases would have made them prominent features in any collector's interior.

The rarer of the two bronzes is the Lion attacking a horse. It is the only known example of this composition without the Turkish rider (see lot 110). The lion pelt on the back of the rearing horse suggests the model for Cupid astride a horse was employed to create this variant.

Saint George and the Dragon, the subject of the second bronze, is one of Fanelli's most successful compositions. Two basic types were modeled by the sculptor. In the present, more spirited version he adapted his model of the Leaping horse, identified by its extended hind legs and pronounced twist of the head to carry a figure of St. George thrusting the lance at the dragon with both hands. Other examples of this first type are in the V&A Museum (A.5-1953), the Royal Collection and at Wellbeck Abbey with slight variations.

RELATED LITERATURE
J. Pope-Hennessy, 'Some Bronzes by Francesco Fanelli', Essays on Italian Sculpture, London, 1968, pp. 166-71; P. Wengraf, 'Francesco Fanelli & Sons in Italy and London, on a Grander scale', European Bronzes from the Quentin Collection, exh. cat. The Frick Collection, New York, 2004, pp. 30-53