After a model by Giambologna (1527-1608) Italian or French, 18th century

Overall the condition of the bronze is very good, with minor dirt and wear to the surface consistent with age. There is some minor rubbing to the lacquer patina at the high points, including the tip of the nose, the proper right nipple and the toes. The veil is cast in sections and joints are slightly visible near the hands. The joint below the proper right hand is slightly open but stable, and there is also an original casting plug in this area. There are a few light nicks and scratches, notably to the woman's back and buttock on her proper left side, and to her proper left arm. There is some minor staining to the patina, in particular to the proper left leg. Original chasing marks are slightly visible throughout. The marble base is in good condition with minor wear, including a few small chips around the edges.
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The present bronze is one of only three known versions after Giambologna’s Fortuna that include a full sail held aloft by the female figure. The model of Fortuna was attributed to Giambologna in 1973 by Katherine Watson and Charles Avery, who brought to light documents which confirmed that Giambologna had designed a nude female figure of Fortune holding a sail. A group of bronzes formerly attributed to Danese Cattaneo were judged on the basis of style and quality to be derived from Giambologna's model. Watson and Avery concluded that the Fortune may have been intended as a pendant to the sculptor's Mercury, as the two poses mirror each other and find a conceptual precedent in one of Andrea Alciati's Emblemata, where the two symbolise the contrast between industriousness and blind faith.

Most bronze versions of the Fortuna do not include a full sail but only the ends of the cloth in the figure’s hands, which are finished in such a way as to suggest that a separately cast full sail was never intended. Apart from the present bronze, only two versions with a sail seem to be extant; one, from the estate of John Gaines, sold at Christie’s New York on 17 May 2005 (lot 540) while the other, formerly in the collection of Michael Hall and published by Avery and Hall (op. cit.), sold at Christie’s New York on 11 June 2010 (lot 75). Although previously published as early 17th century, both bronzes were most recently catalogued as French, 18th century. The facture of the present bronze, with a green-brown patina and distinctively chased surface, suggests a common origin in the 18th century, perhaps from the same foundry as one or both of the other versions. The technically accomplished cast retains the characteristics and finesse associated with bronzes from Giambologna's workshop, while providing a dramatic interpretation of the Mannerist sculptor’s ambitious model.

RELATED LITERATURE
K. Watson and C. Avery, 'Medici and Stuart: a Grand Ducal Gift of "Giovanni Bologna" Bronzes for Henry Prince of Wales', in Burlington Magazine, CXV, 1973, pp. 493-507; C. Avery and A. Radcliffe, Giambologna: Sculptor to the Medici, exh. cat., London, 1978, no. 16, pp. 70-71; C. Avery and M. Hall, Giambologna: An Exhibition of Sculpture by the Master and his Followers from the Collection of Michael Hall, Esq., Salander O'Reilly Galleries, New York, 1998, no. 7