Circle of Michael Rysbrack (1694-1770) English, 18th century

The Arcade Gallery, London, 1967
David Daniels Collection, New York

Sculpture from the David Daniels Collection, Minneapolis Institute of Art, 26 October 1979-13 January 1980, no. 36

Overall the condition of the relief is good. There is some wear and dirt to the surface consistent with age. There are some restored breaks to the onyx around the putto on the left. There are also restored fissures to this putto, the club and Hercules' proper left shin and foot, wrist and hand. The onyx sections to the side of relief have been reattached to the white marble support to the back (consisting of two slabs with original metal joints). There are a few minor chips to the figure of Hercules around the edges of the relief.
"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."

A variant appeared as part of a chimneypiece with reputed Scottish provenance at Sotheby's New York on 26 April 2008 (lot 134). Christie's King Street sold a similar relief on 9 July of this year attributed to the workshop of Michael Rysbrack (lot 54). Compositionally, the present relief echoes the frieze of a chimney piece executed by Michael Rysbrack for Hopetoun House in Scotland and a design for such a surround in the Victoria and Albert Museum. Rysbrack's treatment of the same theme in the round can be seen in Cambridge's Fitzwilliam Museum (no. M.1-1816) and parallels the treatment of the proper right hand in his statuette of Sir Peter Paul Rubens. The inclusion of a coloured stone background is, however, common in chimneypieces by Henry Cheere and William Collins, as noted by Trusted.

RELATED LITERATURE
K. Eustace, 'Robert Adam, Charles-Louis Clérisseau, Michael Rysbrack and the Hopetoun chimneypiece', The Burlington Magazine, November 1997, pp. 747 and 751, figs. 24 and 30; K. Eustace, Michael Rysbrack Sculptor 1694-1770, ex. cat. City of Bristol Museum, 1982, p. 141, no. 55; D. Bilbey and M. Trusted, British sculpture 1470 to 2000. A concise catalogue of the collection at the Victoria and Albert Museum, London, 2002, pp. 68-9, no. 9