After Pierre Legros the Younger (1666-1719) Italian, Rome, after 1738

with two fragmentary labels on the reverse, one inscribed: ... M. Le Gros in black ink, and with a Roman export stamp and numbered: 24365 on the underside

With Heim Gallery, London, 1967

Heim Gallery, London, Baroque Sketches, Drawings & Sculptures, 7 November
to 24 December 1967, no. 93

M. Conforti, "Pierre Legros and the Rôle of Sculptors as Designers in Late Baroque Rome", The Burlington Magazine, 119, No. 893, August 1977, pp. 556-561
F. Souchal, French Sculptors of the 17th and 18th Centuries: The Reign of Louis XIV, II, Oxford, 1981, p. 288, no. 23b
G. Bissell, Pierre Le Gros 1666-1719, Reading, 1997, p. 85, n. 10
F. Martin, “Sculptures after Prints: The Case of a Marble Statuette in the Metropolitan Museum of Art” The Sculpture Journal, IV, 2000, pp. 73, 74, and 77, n. 18, fig. 6 (cites an unpublished remark by Rudolf Wittkower, in which the noted scholar claimed [erroneously] that the present work is signed by Jean Baptiste Cyprien d’Huez [1729-1793] and dated 1757)
A.-L. Desmas, "Why Legros Rather than Foggini Carved the 'St. Bartholomew' for the Lateran: New Documents for the Statue in the Nave", The Burlington Magazine, 146, No. 1221, December 2004, pp. 796-805, n. 30

Standard minor chips, surface abrasions and some restoration throughout. Losses include: both front corners of the base, top of a finger and attribute in proper left hand. Evidence of break around proper right mid section through drapery and through upper arm. Some restorations to drapery and skin. Well restored surface crack through upper torso. Lovely quality.
"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."

Pierre Legros II was a French born sculptor who in 1700 had been elected unanimously to the Accademia di San Luca. He executed two monumental marble statues for Cardinal Lorenzo Corsini, the future Pope Clement XII, that were placed in niches in San Giovanni in Laterano, Rome. The present terracotta is a study of Legros’ figure of St. Bartholomew that was completed in 1712. Legros executed a second statue of an apostle, St. Thomas, which was completed at about the same time. The terracotta bozzetto for that work is in the Los Angeles County Museum of Art.

One of the largest and most impressive sculptural projects in 18^th century Rome, plans to fill the massive niches in the nave of San Giovanni in Laterano were proposed in 1702. A committee was appointed by Pope Clement XI Albani to select the sculptors and to approve the models. Each of the chosen sculptors was to provide terracotta modelli some 3 Roman palmi or 67 cm. high.

A marble version of the present composition, 86 cm. high, is in The Metropolitan
Museum of Art, New York, where it is catalogued as “after Pierre Legros II” and dated “after 1738.”

The apostle Bartholomew was flayed alive. In the present sculpture, the skin on his face and hands hangs over the extended portion of his robe.