Circle of Cristoforo Stati (1556-1619) Italian, Florence, late 16th century/ early 17th century

The sculpture was probably intended as a garden sculpture. In consideration of its function and age, the condition is good, with wear to the surface consistent with age. The sculpture has been outside and as such the surface is slightly weathered throughout. The head has been reattached at the neck by a professional restorer; the joint is barely visible to the naked eye. There is veining to the marble, consistent with the material, particularly to the proper left shoulder. There are some slightly open veins, in particular to the reverse of the proper left arm and to the buttocks. There are a few further slightly open veins, including to the proper right arm. There are a few naturally occurring inclusions, including to the hair and upper back. There is some metallic veining to the marble, in particular to the legs. There is orange staining to the base at the back. There are some slight abrasions to the toes, and a few small chips to the edges of the terrasse.
"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 elegant marble nude youth compares closely with Florentine Mannerist sculpture from the mid to late 16th century. The contrapposto with one arm raised, the other lowered, essentially mirrors the composition of Michelangelo's David (circa 1501/1504) and finds a further precedent in Baccio Bandinelli's Apollo from the Grotta del Buontalenti in the Boboli Gardens (circa 1546/1555). A strong comparison for the present marble is found in figure of the Youthful Hercules from the circle of Bandinelli (and formerly attributed to Piero da Vinci and Domenico Poggini) also in the Boboli Gardens (Massinelli, op. cit., p. 72, fig. 23). Note the same subtly muscled adolescent body, elongated neck, large head, and, of course, contrapposto. Further comparison can be made to the late works of Valerio Cioli (circa 1529-1599), who produced bucolic figures also for the Boboli Gardens, see, for example, his Contadino con la vanga (Pratesi, op. cit., fig. 263). Comparison can also be made to the Bacchus from the Fontana Pretoria (now in Palermo) which was carved by Bandinelli's student Francesco Camilliani (1530-1586). Further stylistic affinities are apparent in the work of Cristoforo Stati, who trained in Florence but also worked in Rome. Note in particular the similar idealised anatomy, languid pose and pronounced turn of the head with the marble figure of Cleopatra attributed to Stati (Sotheby's, London, 2 December, 2008, lot 46), with the marble of Friendship in the Louvre (inv. N15051), or with the marble of Orpheus in the Metropolitan Museum of Art (inv. 41.100.242).

RELATED LITERATURE
G. Pratesi, Repertorio della scultura Fiorentina del cinquecento, Turin, 2003, figs. 263-265; A-M. Massinelli, 'Intorno ad una statua di Ervole dell'Anfiteatro di Boboli,' in Boboli 90. Atti del Convegno Internazionale di Studi per la salvaguardia e la valorizzazione del Giardino, Florence 1989, p. 72, fig. 23