After a model attributed to Pietro Tacca (1577-1640) Italian or French, 18th century

Overall the condition of the bronze is very good with dirt and wear to the surface consistent with age. There are some very minor lacunae, such as in the arms. The globe appears to be cast in two sections, the figure and base are also cast separately. The bottom of the lion pelt appears to be separately cast. There are some minor, partially filled, casting flaws in the lion pelt. The base may be associated. The quality of the casting is very good, with the details sharply cast.
"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 impressive and finely cast bronze is a rare example of a model attributed to Pietro Tacca, and cast by his son Ferdinando. The model is thought to be based on one of the modelli for the silver statuettes created by Giambologna for the Tribuna degli Uffizi. According to Anthony Radcliffe, the model was probably conceived as part of the 1612 commission for a set of bronzes for Henry Frederick, Prince of Wales. However, the commission was aborted, and it is thought that the large scale bronze versions cast were made by Pietro’s son, Ferdinando Tacca (Radcliffe, op. cit., pp. 254-259). Casts attributed to Ferdinando Tacca include one from the French Royal Collection (inv. no. 303), now in the collections of the Prince of Liechtenstein (inv. no. SK946), and one in the Smith collection at the National Gallery of Art, Washington (Radcliffe, op. cit., no. 45). The facture of the present bronze would suggest it dates to the 18^th century, with its fine rocaille terrasse, which differs from more fluid bases seen on 17^th-century casts. The model is known to have been popular in the 18^th century, as a plaster version, together with a mould, is recorded in the holdings of the Doccia porcelain factory, Tuscany, after 1780 (Radcliffe, op. cit., p. 259).

RELATED LITERATURE

C. Avery, Giambologna, exh. cat. Salander-O'Reilly Galleries, New York, 1998, pp. 58-60, no. 19; A. Radcliffe and N. Penny, Art of the Renaissance Bronze, cat. The Robert H. Smith Collection, London, 2004, no. 45, pp. 254-259; A. Kugel, Les Bronzes du Prince de Liechtenstein. Chefs-d’oeuvre de la Renaissance et du Baroque, Paris, 2008, no. 20, p. 100;  B. Paolozzi Strozzi and D. Zikos (eds.), Giambologna gli dei, gli eroi, exh. cat. Museo Nazionale del Bargello, Florence, pp. 187, no. 16