Italian, probably Florence, circa 1500

inscribed: 176.48 in white ink to the base

Rudolf von Gutmann (1880-1966), Vienna;
confiscated from the above by the Gestapo in 1938;
transferred to the central repository Neue Burg of the proposed Führermuseum in Linz (inv. no. 482);
recovered in Altaussee (inv. no. 1714/3) by the so-called Monuments Men and transferred to the Central Collecting Point Munich on 4th July 1945 (inv. no. 2370/3);
transferred to Salzburg on 17th June 1947;
restituted to Rudolf von Gutmann after 1949
his sale, Sotheby’s London, 9 December 1987, lot 38;
private collection, The Netherlands

Overall the condition of the bronze is good, with minor dirt and wear to the surface consistent with age, with dust in the crevices. There is wear to the lacquer patina, including minor flaking throughout, and some rubbing at the high points. There is also some dryness to the lacquer patina in areas. There are a few areas of original stable casting fissures and patching due to casting flaws, notably to the proper left shin, and to both calves at the back. There are a few nicks, and a few small original lacunae, notably one to the proper right thigh.The tree stump and base are cast separately and may have been added later. There is lead fill to the base on the underside, which is almost certainly of a later date. There is particular wear to the patina on the top of the base. The figure and tree stump are slightly loose but stable on the base.
"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 present model is thought to be based on a now-lost antique prototype, which would have shown a dancing satyr such as Marsyas playing the double flute held by a 'mouth string'. It is likely that the flute was lost in the original, as it is never seen in the existing bronzes. The subject was treated in the Renaissance by a number of artists, with notable differences between the various versions, all derived from a supposed mid-15th century prototype from the circle of Pollaiuolo. Interestingly Lorenzo de'Medici's 1492 inventory lists a version as lo gnudo della paura - the Nude of fear - indicating that the position of the flute-playing arms was reinterpreted as a gesture of alarm. The present cast resembles those at Honolulu and Melbourne (Frankfurt, op. cit., nos. 86 and 87) though varies in the addition of a tree-stump support.

RELATED LITERATURE
J. Pope-Hennessy, Sculpture in the Frick Collection, vol. III, Italian, New York, 1970, pp. 30-36; Natur und Antike in der Renaissance, exh. cat. Liebieghaus, Frankfurt am Main, 1985, pp. 388-392