Italian, probably Florentine, late 16th/ early 17th century

holding a stone in his left hand, whilst in his right he holds a catapult, integrally cast on oval base, thick dark lacquer

There are casting joints in both biceps. There is a casting joint around the top of the left thigh. There are hairline fractures around the right ankle and left calf where there is some wax infill. There is a modern screw inserted up the right leg for support. There are two filled plugs in the base. There is some wear to the painta consistent with age, otherwise the condition is very good.
"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 apparently unique statuette shows the young David standing in classical contraposto with his torso partially draped with a sheep's pelt, the head of which hangs from a strap at his breast and falls loosely about his waist, billowing slightly on one side to reveal his muscular thighs beneath. His head is finely modeled with soft curls held by a band, whilst his feet are shod in light sandals.

The pose of the present figure, the body type with slender limbs and elongated torso, the modelling and the physiognomy recall the work of the Florentine High Renaissance. The head and stance are strikingly reminiscent of Bartolomeo Ammanati's figure of Il Prudente as well as the torso of Baccio Bandinelli's Hercules, both of which are in the Bargello, Florence. The sculptor of the present bronze has undoubtedly been exposed to these as well as classical influences, such as the Apollo Belvedere. The inclusion of  the almost fluttering sheep's pelt is however indicative of a later date, probably into the 17th century.

RELATED LITERATURE
G.Pratesi, Repertorio della scultura fiorentina del Cinquecento, Milan, 2007, figs.27, 86