FRENCH OR ITALIAN, 19TH CENTURYAFTER THE ANTIQUE | Borghese Gladiator

Private collection, Amsterdam

Overall the condition of the bronze is good, with minor dirt and wear to the surface, consistent with age. The bronze is cast in sections and joints are slightly visible at the proper right thigh, the proper right upper arm and the proper left upper arm. The proper left arm is slightly loose but stable. The sword is cast separately and also slightly loose but stable. There are minor scratches to the surface, including to the top of the proper left arm and the shield, and to the proper right thigh. There is minor pitting to the bronze, including to the proper left calf, and an area at the proper right ankle. The marble base is in good condition, with minor chips and abrasions to the edges and corners. The left side of the base is carved separately and is slightly loose.
"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 antique marble prototype for this reduction was first discovered in 1611. Initially in the Borghese collection, it was purchased by Napoleon in 1807 and is now in the Louvre (inv. no. MR 224). The antique sculpture, signed by Agasias of Ephesus (1st century BC), recalls the work of Lysippos, the great classical Greek sculptor of the 4th century BC. Owing in part to this Hellenistic context, the initial identification of the figure as a gladiator has been much disputed over the centuries. It is now regarded as a warrior or swordsman, as indicated by the reconstruction of the sword in the present model, which only partially survived in the antique.  RELATED LITERATURE
F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture, New Haven/ London, 1981, pp. 221-4