Circle of Giulio Romano (c. 1499-1546) Italian, 16th century

The object was part of a chest, as such, there is a keyhole in the centre and there are dovetail joints on the sides. There is some wear and dirt to the surface consistent with age. There is some naturally occurring worming consistent with material. There are two larger losses to the lower edge and some minor chips to the edges. There is roughness to the surface around the keyhole and to the grapes which form the hair of the man. There are some losses to the gilding. One old iron nail remains in the top left corner.
"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."

A painter and architect, Giulio Romano was trained by Raphael. He spent most of his career in Mantua, as a court artist for Federico II Gonzaga for whom he designed the Palazzo del Te. He also designed furniture and metalwork, whose wittiness highlights his imaginative brilliance.

This expertly carved wooden panel shows the head of Bacchus flanked by garlands of fruits and wings-spread eagles, similar to the birds on the Gonzaga family coat of arms. The exaggerated frown and expression of Bacchus, as well as his wavy moustache, suggest those of the 'Giants' in the Palazzo's famous Sala dei Giganti. Its background has been hatched throughout, emphasizing the full round forms of the various elements and the gilding. It was originally part of a larger decorative scheme, maybe in a cornice at the top of a wall or a fireplace hood. The key-hole at the top of Bacchus' head has very likely been added at a later date, when the relief could have been reemployed as the front part of a cassone.

RELATED LITERATURE
D.S. Chambers and J. Martineau (eds.), Splendours of the Gonzaga, exh. cat., Victoria and Albert Museum, London, 1982, cat. 167, ill. p. 85.