North Italian, probably Padua, first half 16th century

Sylvia Phyllis Adams, London, until 1996;
her sale, Bonhams, Knightsbridge, London, The Sylvia Phyllis Adams Collection, 23 May 1996, lot. 21;
with Daniel Katz Ltd, London, June 1999

Overall the condition of the bronzes is good, with wear and some dirt to the surfaces consistent with age and handling, including dust in the crevices. There are some areas with minor nicks, including to the chests and the tips of the noses, which are partially rubbed. There is also some wear to the laquer patina. There are a few lacunae due to casting flaws, including to one of the tritons' abdomen and proper right side of the chest, and to the tail of the other triton at the back. There are very small circular holes to the neck, abdomen, and lower abdomen of both figures. There are larger circular holes for mounting to the bottom ends of the tails of both figures. The bronzes are attached to their bases with screws; one has detached from the base but slides into the base. The marble bases are composed in sections, and some fill is slightly visible at the joints. There is some dirt and wear to the bases, including minor chips at the edges and corners and a few small dents and scratches.
"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."

These charmingly grotesque infant tritons would have once formed part of a utilitarian bronze object, such as a perfume burner or a candelabrum. The use of acanthus leaf forms on marine creatures appears in the Paduan workshops of Severo da Ravenna and Andrea Riccio during the first half of the 16th century. Compare also the hair and facial features of Riccio's figures, such as the Orpheus in the Louvre (inv. no. OA 9115).

RELATED LITERATURE
V. Krahn, Bronzetti Veneziani, cat. Bode Museum, Berlin, 2003, no. 13; Natur und Antike in der Renaissance, exh. cat. Liebieghaus, Frankfurt, 1985. no. 141