Workshop of Artus Quellinus (1609-1668) Netherlandish, circa 1650-1660

Sotheby's New York, 31 May 1995, lot 91

There are restored breaks to the tail of the lion, legs and back of Hercules and the base. The end of the little finger on the proper left hand is lost. There is a chip to the lion's proper right ear. There is some minor wear and dirt to the surface consistent with age. Otherwise the condition of the terracotta is stable.
"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 dramatic composition recalls several of the surviving terracottas from Artus Quellinus’ workshop. The treatment of musculature and the overall proportions of the group for example are comparable to the figures of Atlas and several of the Tritons produced as designs for Amsterdam town hall, now in the Rijksmuseum (inv. nos. BK-AM-51-1 and 7). The facial type is also reminiscent of a reclining man inspired by Michelangelo also by Quellinus dated 1658.

Through his large workshops in Antwerp and later Amsterdam, Quellinus introduced the Rubensian Baroque to sculpture in the Netherlands. Many of his powerful and dynamic designs were conceived in terracotta, ranging from small sketches to signed and dated works that stand as works of art in their own right like the present group.

Supporting an attribution to a major Dutch sculptor is the appearance of a nearly identical terracotta on a now lost portrait of an artist playing a violin by the Leiden painter Johan van Swieten. The presence of it there suggests that the group was already considered to be of importance in the 17^th century.

This lot is sold with an expertise by Dr. Frits T. Scholten, dd. 28 December 2002