Francesco Bertos (1693-1739) Italian, Naples, early 18th century

with white labels stamped Schloß Sigmaringen and numbered: V.A.106 and V.A. 107 on the underside and numbered 51. and 52. in red ink on the underside of the base

There is dirt and wear to the surfaces consistent with age. There are losses and wear to the beautiful golden-brown patinas throughout, particularly at the woman's chest, right arm and legs, and to the man's back and left arm. There is a large fissure to the woman's proper left leg. There are some further fissures and lacunae here, as well as to the man's proper right leg. There are a few splashes of dark lacquer or paint to both figures. There appears to have been a knock to the leaves in the woman's left hand. There are small chips and abrasions to the marble bases. The figures may have been reset into their bases.
"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 present pair is a new addition to the six pairs of single figure bronzes documented in the Bertos Catalogue raisonné by Charles Avery. Only one of the pairs has original bases that match the present pair. Francesco Bertos is renowned for his complex and innovative iconography so it is not surprising that he should dispense with the convention of always producing four personifications of the seasons as sets and it is characteristic of the eccentric Venetian sculptor that he would give his figures alternative meanings.  In the case of the present pair they have also been described as Bacchus and Ceres.  The elegant lines of the billowing drapery of Summer and the grape-laden vine of Autumn epitomise Bertos's unique style.

RELATED LITERATURE
C. Avery, The triumph of motion. Francesco Bertos (1678-1741) and the art of sculpture. Catalogue raisonné, Turin, 2008, pp. 194-96, nos. 73-74