Attributed to Sebastian Nicolini (active ca.1614-1636), Italian, Venice, early 17th century

Overall the condition of the bronze is very good. There is some minor wear and dirt to the surface consistent with age and handling. There are a few lacunas and irregularities due to original casting flaws including on larger one to the proper left flank of the right lion (a wood replacement for this section is fixed to the mount). There is some rubbing around the mouth of the mask. The arms are unpatinated. There is overall wear to the varnish on the wood mount. The mount also has some naturally occurring stable splitting, particularly at the top left on the reverse.
"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."

This is one of the finest Venetian door knockers to have appeared on the market in recent years.  It is exceptional for the survival of the lion face wall mount into which the iron fixing for the door knocker itself sits. It still preserves the arms of the Pigatti family in the gilded cartouche.

Sebastian Nicolini was the son of Nicolò Roccatagliata.  Father and son worked together and the differentiation between them can often be complex.  This particularly fine door knocker can be compared to Roccatagliata's St George in San Giorgio Maggiore, however, the more playful approach between the soldier and the lion would suggest more the authorship of Nicolini. Affinities in the treatment can be found in the candlestick made for San Giovanni e Paolo (1631-1633) by Nicolini in association with Andrea Balbi.

We are grateful to Dr. Claudia Kryza-Gersch for her assistance in cataloguing this lot.

RELATED LITERATURE
C. Kryza-Gersch, 'Due altari seicenteschi a San Marco: Nicolò Roccatagliata e Sebastiano Nicolini, e la produzione di ornamenti in bronzo per le chiese veneziane', in Matteo Ceriana  and Victoria Avery (eds.), L'industria artistica del bronzo del Rinascimento a Venezia e nell'Italia settentrionale, Atti del Convegno Internazionale di Studi, Venezia, Fondazione Giorgio Cini, 23 e 24 ottobre 2007, Verona 2008, pp. 253-272;
C. Kryza-Gersch, 'New Light on Nicolò Roccatagliata and His Son Sebastian Nicolini', in Nuovi Studi, vol. V, 1998, pp. 111-126.