French or German, 17th century After a model by Giambologna (1529-1608)

on a wood base

Private Collection, Switzerland
With Daniel Katz, London, 1983, from whom acquired by the present owner

Overall the condition of the bronze is good. There is some minor wear and dirt consistent with age. The figure was cast in pieces; joints are visible at Nessus' tail and the proper right wrist of Deianeira. The tail might have been reattached. There are areas with original bronze patches where the drapery meets Nessus' abdomen and on the underside of Deianeira's proper left forearm. Some of the casting pins were disguised roughly. There is a small scratch to Nessus' proper right flank near his belt. There is some minor wear to the surface of the wood 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."

The Giambologna workshop's models for Nessus abducting Deianeira are the earliest and arguably most successful treatments of Ovid's theme in the history of sculpture. In this particular bronze, Nessus is shown driving forward while pulling the struggling nude across his back, holding her tight at her left side and right shoulder. The mythological creature rears as he tries to escape Hercules, who entrusted the treacherous centaur with his wife to safely cross the river Evenus. Moments later Hercules fires a poison arrow to end Nessus' life. The forward turn of the centaur and the arching body of Deianeira invite viewing of the bronze in the round, Giambologna's most noted achievement.

Giambologna's earliest version of Nessus and Deianeira must have been modelled before 1577, when a bronze of the subject was first mentioned in the Salviati family papers. The composition of the present bronze belongs to a more vibrant model designated as 'type B' by Radcliffe and Avery (op. cit.). This type was conceived at the end of Giambologna's career, while he was working closely with his assistant Antonio Susini. It is likely that the model inspired a famous anecdote regarding a bronze Nessus and Deianeira. In his Notizie of 1681-88 Filippo Baldinucci states that a cast by the newly independent Antonio Susini pleased the old Giambologna so that he purchased it for two hundred scudi, setting this impressive price for Susini's further casts.

Models incorporating a support masked as a column of falling drapery are indicative of a different geographical origin. An elaborately chased example was sold at Sotheby's sale of the collection of the Margraves of Baden (5-21 October 1995, II, lot 133). The cast from Schloss Assumstadt, which was published by Weihrauch, is currently on the art market and attributed to the workshop of Giambologna's South German pupil, Hubert Gerhard. A further, gilt example is in London's Wallace Collection.

RELATED LITERATURE
J. Mann, Wallace Collection Catalogues: Sculpture, London, 1931, pp. 44-45, no. S 117; H.R. Weihrauch, Europäische Bronzestatuetten. 15.-18. Jahrhundert, Braunschweig, 1967, pp. 215, 220-221, fig. 261; C. Avery and A. Radcliffe (eds.), Giambologna 1529-1608. Sculptor to the Medici, exh. cat. Arts Council of Britain/ Kunsthistorisches Museum Vienna, London, 1978, pp. 109-117, cat. 66; A. Radcliffe, The Robert H. Smith Collection: Bronzes 1500-1650, London, 1994, pp. 46-53, no. 7; I principi e le arti: dipinti e sculture dalle Collezioni Liechtenstein, exh. cat. Milan (Museo Poldi-Pezzoli), 2006, cat. no. 15; Scultura, exh. cat. Tomasso Brothers Fine Art, New York & London, 2008, pp. 44-49, no. 11