Italian, Venice, early 17th century

There are surface scratches to both bronzes throughout. Otherwise the condition is good, with some further wear and dirt consistent with age. There are a few shallow lacunae, resulting from casting, notably to Juno's proper right knee. There is an area of greening to Juno's hair on the proper right side. There are several minor nicks, notably to Jupiter's legs. There is some rubbing to the patina in areas. The bronze bases are possibly later.
"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 bronzes relate to a pair in the National Gallery of Art in Washington (inv. nos. 1942.9.143 and 1942.9.144), which have been variously attributed to Jacopo Sansovino, Alessandro Vittoria, and an anonymous Venetian caster. Compositionally the models appear to be derived from Alessandro Vittoria's autograph Jupiter in the Kunsthistorisches Museum, Vienna, and a figure of Juno attributed to Vittoria's workshop by Planiscig (op. cit.). However the characteristic features of the present bronzes, with large eyes and dense curls, indicate a possible affinity with the Roccatagliata workshop.

RELATED LITERATURE
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 473-474, figs. 497 and 498