ITALIAN, EARLY 19TH CENTURYAFTER THE ANTIQUE | Arrotino

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. The proper left thumb is reattached. There is some veining to the marble, consistent with the material, notably to the proper left side of the figure. There are also a few very small naturally occurring inclusions, including to the proper left arm and to the chest. There is a slightly open but stable hairline vein to the blade. There are a few minor chips, including to the edge of the drapery at the back and on the proper left side. There is particular dust in the crevices of the terrasse. There are a few minor dirt marks 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."

The present figure is an iteration of the antique Arrotino ('knife grinder') prototype. The antique marble statue was discovered in Rome during the 16th century and acquired by Cardinal Ferdinando de' Medici in 1578. It was eventually installed in the Tribuna of the Uffizi in 1688. The figure was much admired and imitated by later artists. Most notably, Giovanni Battista Foggini made a marble copy for Versailles in 1684 (Louvre, inv. no. M.R. 1853), and Massimiliano Soldani-Benzi made a bronze version for the Duke of Marlborough in 1710 (formerly Blenheim Palace). The sculpture was variously interpreted by 16th and 17th century scholars. A popular view characterised the crouching figure as a serf overhearing a political conspiracy in Rome. It is now widely believed to be a Roman copy of a Hellenistic work representing the Scythian executioner of the satyr Marsyas, sharpening his knife in preparation for the flaying (op. cit., p. 156). 

RELATED LITERATURE
F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture, New Haven/ London, 1981, pp. 154-7