French, 18th century

Sotheby's London, 10 December 2004, lot 93

Overall the condition of the bronze is good, with some dirt and wear to the surface consistent with age. The scythe and the lamp are separate and can be attached to the figure. The bronze is cast in sections, and some joints are visible, including at the shoulders and where the wings join the back; some joints are slightly open but stable, notably the one at the proper right shoulder, where there is also an original circular bronze insert. There is a slightly open joint also at the cloak between the wings. There is some rubbing to the lacquer patina at the high points, including the face and the hair at the front. There are a few nicks, including to the proper right thigh. The ebonised wood base is in good condition with minor dirt and wear, in particular at the top.
"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 dynamic figure of Father Time recalls Lambert Sigisbert Adam's Neptune calming the waves in the Musée du Louvre (inv. no. MR 1743), itself indebted to the Borghese Gladiator and Bernini's Neptune and Triton in the Victora and Albert Museum (inv. no. A.18:1-1950). The conception of the bald Father Time, with forked beard and bowed head, is close to Simon Hurtrelle's Saturn Devouring One of His Children (marble, Louvre, Paris, inv. no. RF 4644; bronze version, J. Paul Getty Museum, Los Angeles, inv. no. 85.SB.126). Compare the physiognomy with works by Philippe Bertrand, such as the Prometheus and his Winter group, both in the Royal Collection at Windsor Castle (inv. nos. RCIN 33464; RCIN 31364.4). Given the presence of the joint to the underside, it is likely that the present bronze surmounted a clock or item of furniture.

RELATED LITERATURE
G. Bresc-Bautier, G. Scherf and J.D. Draper, Cast in Bronze. French Sculpture from Renaissance to Revolution, exh. cat. Musée du Louvre, Paris; Metropolitan Museum of Art, New York; and J. Paul Getty Museum, Los Angeles, Paris, 2008, pp. 290-293, 392-403 nos. 79A and B, 104, 109