Francesco Bertos (1678-1741), Italian, Venice, first half 18th century

Sotheby's New York, 23 January 2003, lot 194;
Trinity Fine Art, London, 2003

XXIII Biennale Mostra Mercato Internazionale del Antiquariato, Palazzo Corsini, Florence, 2003

C. Avery, The triumph of motion. Francesco Bertos (1678-1741) and the art of sculpture. Catalogue raisonné, Turin, 2008, pp. 194-96, nos. 73-74 

Overall the condition of the bronzes is very good. There is some wear and dirt to the surface consistent with age with a small spat of liquid to Bacchus' proper left ankle. There are a few small areas of scratching and rubbing, including the elbows of both figures and at the forearms and proper right calf of Bacchus. The areas with patches and original casting flaws include the proper left ankle and proper right arm of Bacchus (in two places) and the proper left calf of Ceres. Ceres has lost most of her scythe. There is some dirt and a few minor nicks to the 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."

There are only six pairs of single figure bronzes documented in the Bertos Catalogue raisonné by Charles Avery. Each pair has matching bases and it seems that they were made as one to one protagonists, rather than as part of larger groups.  Francesco Bertos is renowned for his complex and innovative iconography so it is not surprising that he should dispense with the convention of always producing four personifications of the seasons as sets and it is characteristic of the eccentric Venetian sculptor that he would give his figures alternative meanings.  In the case of the present pair they have also been described as Bacchus and Ceres.  This pair has a particularly fine rich brown patina and delicate chasing.  The elegant lines of the billowing drapery of Summer and the grape-laden vine of Autumn epitomise Bertos's unique style.