Workshop of Massimiliano Soldani Benzi (1656-1740), Italian, Florence, circa 1700 After the Antique

Overall the condition of the bronze is good. There is some minor wear and dirt to the surface consistent with age. There is some slight greening in the crevices, particularly in the right ear. There is a scratch to the patina on the nose. There are a few small lacunae due to casting flaws. Two original sections of metal were separately inserted to each side of the truncation, possibly due to a short pour, their joints are visible on the edge at the shoulders and slightly through the translucent patina. There are a few circular and square patches visible through the patina including five around the proper right cheek and under the proper right eye. The bust is slightly loose on the socle. The socle has some rubbing to the corners.
"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 highly polished surface, fine chasing of the hair and the many casting sprues and pegs visible through the translucent patina of the present bronze are all conform the work of an accomplished bronze-maker active around 1700. Massimiliano Soldani Benzi produced two beautifully finished full-length bronzes of the Venus de'Medici (coll. Duke of Marlborough, Blenheim Palace and coll. Prince of Liechtenstein, Vienna, inv. no. SK537). It is interesting to note that a detail image of Soldani's Venus in Liechtenstein illustrated in Pratesi (op.cit.) suggests that two square casting pins on the proper left cheek are in the same location as those on the present bust.

RELATED LITERATURE
F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture 1500-1900, New Haven and Yale, 1981, pp. 325-8, no. 88; G. Pratesi (ed.), Repertorio della scultura fiorentina del seicento e settecento, Turin, 1993, vol. III, pl. 564-566; A. Kugel, Les bronzes du Prince de Liechtenstein. Chefs-d'œuvre de la Renaissance et du Baroque, exh. cat. J. Kugel, Paris, 2008, p. 104, no. 25