Attributed to Giacomo Zoffoli (1731-1785) Italian, Rome, second half 18th century After the Antique

with original Greek inscriptions

with Pelham Galleries, London, 1990s

Overall the condition of the bronzes is good, with dirt and some wear to the surface consistent with age. The bronzes are cast in sections, and a few joints are visible, including: to where the tree trunks meet the horse bellies; to the older centaur's proper right hind leg; where there is some slightly open original patching and a small opening; the older centaur's proper left front leg; and the younger centaur's proper right arm at the shoulder, where there is some lead fill. There are a few minor fissures to the bronze, as the result of casting flaws, including to the top of the older centaur's base, and to the younger centaur's proper right hind leg. A few small lacunae are visible, including to the back of the older centaur's proper right hind leg. There is a shallow plug hole to the older centaur's horse back. There is some minor rubbing to the lacquer patina at the high points. There are a few areas of greening, including to the old centaur's proper right hip and to the younger centaur's proper right front leg at the top. There are several nicks and scratches, notably to the older centaur's proper right arm and his horse back, and to the younger centaur's cloak at he back. The porphyry and ormolu bases are in good condition. The porphyry is veneered, and joints are very slightly visible. The white marble or alabaster cores are visible on the undersides. There are a few small chips and abrasions to the edges of the porphyry, and a corner on one of the bases has been reattached. A piece of wood has been glued to the top of one of the bases, which is not visible if the bronze sits on it. There is some wear to the gilding of the ormolu mounts.
"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 Furietti Centaurs were excavated in 1736 at Hadrian's villa in Tivoli under the supervision of Monsignor Furietti and entered the Capitoline Museums in 1765. Carved in grey-black marble, the playful pair are thought to be Roman adaptations of Hellenistic compositions. The older Centaur's close resemblance to the Centaur with Cupid, which survives in the Louvre, suggests that the Centaurs may once have been ridden by Erotes and thus symbolised the contrast between old and young desire. 

Bronze reductions of the Furietti Centaurs form a significant part of the oeuvre of Giacomo Zoffoli and his workshop. Prime casts signed by Zoffoli are in the Nationalmuseum, Stockholm (inv. nos SK 336 and 337), which may have been acquired by Gustav III on his visit to Rome in 1784. In their refined execution, compositional details, and the style of their bases, the present bronzes compare well to the Stockholm examples. A common feature that is typical of Zoffoli's close adherence to antique models is the inclusion of the tree trunk supports, which are often dispensed with in bronze reductions. Interestingly, the present casts also retain the original marbles' struts under the raised front hooves.

RELATED LITERATURE
H. Honour, 'Bronze statuettes by Giacomo and Giovanni Zoffoli, The Connoisseur, DXCVII, Nov. 1961, pp. 198-205; F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture 1500-1900, New Haven/London, 1981, p. 178, no. 20