After a model by Giambologna (1529-1608) Italian, Florence, 17th century

Overall the condition of the bronze is good with dirt and wear to the surface consistent with age. There is black spotting to the surface, particularly to the front. There are a number of original casting plugs, including at least nine to the proper left arm, one to the proper right arm and one to each cheek. There is a large rectangular plug to the proper left thigh, a plug above the proper left heel and a series of four small plugs to the proper left shin. There are two slightly visible original casting joints to the proper left arm: below the elbow (with plug) and below the wrist. There are a few small stable fissures and lacunae, including to the proper left upper arm, proper right wrist, proper left shin, and between the legs. There are a few stable open joints to the base and a few small holes. Some stable splitting to the wood at the back consistent with the material.
"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 fine bronze is modelled after Giambologna's Fortune. The model was attributed to Giambologna in 1973 by Katherine Watson and Charles Avery, who brought to light documents relating to a commission for a group of bronzes for Henry, Prince of Wales (1594-1612). These documents confirmed that Giambologna had designed a nude female figure of Fortune holding a sail. A group of bronzes formerly attributed to Danese Cattaneo in the Metropolitan Museum of Art, New York (inv. no. 24.212.5) and Stanford University Museum, California (inv. no. 62.235) were judged on the basis of style and quality to be derived from Giambologna's model. Watson and Avery concluded that the Fortune may have been intended as a pendant to the sculptor's Mercury, as the two poses mirror each other and find a conceptual precedent in one of Andrea Alciati's Emblemata, where the two symbolise the contrast between industriousness and blind faith.

Giambologna's Fortune fits stylistically and conceptually with the sculptor's other essays in the standing female nude, exemplified by his Fiorenza and Cesarini Venus. In addition to the versions in New York and Stanford, now given to Antonio Susini, there is a very fine example in the Louvre (inv. no. OA 10598), formerly in the French Crown Collection of Louis XIV (No.68). The present cast has a particularly well modelled face with sharp features and chiselled eyebrows.

RELATED LITERATURE
C. Avery, Giambologna. The Complete Sculpture, London, 1993, no. 57, p. 136; C. Avery and A. Radcliffe, Giambologna. Sculptor to the Medici, exhib. cat., London, 1978, no. 16, pp. 70-1; W. Seipel, Giambologna: Triumph des Körpers, exhib. cat., Vienna, 2006; B. P. Strozzi and D. Zikos, Giambologna gli dei, gli eroi, exh. cat., Florence, 2006; K. Watson and C. Avery, 'Medici and Stuart: a Grand Ducal Gift of "Giovanni Bologna" Bronzes for Henry Prince of Wales,' Burlington Magazine, CXV, 1973, pp. 493-507