Ferdinando Tacca (1619-1686) Italian, Florence, circa 1650

deep brown patina with some areas of black lacquer

This bronze is in good condition however there is a repaired break to the back right ankle of the horse. There are reminisces of dust and some dirt in both the tall and the mane. There is reminisces of a black lacquer at the top of the tail and the front of the horses snout. See catalogue photograph. There are minor scratches and wear throughout. The horse is not fixed correctly to the base and the front should rise more then it currently does.
"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 bronze rearing horse with a thick, vigorously windswept mane and tail is one of a series of horses attributed to the Florentine sculptor Ferdinando Tacca.  Tacca was the son of Pietro Tacca, from whom he inherited the title of court sculptor to the Medici and director of the grand-ducal workshop. Ferdinando's sculpture is characterized by its dynamism and dramatic sense of movement.

The Rearing Stallion in the Museo di Palazzo Venezia, Rome (inv. no. 9293) was given by Katherine Watson to Ferdinando Tacca (1978 Giambologna catalogue) based on stylistic elements.  Of the four extant models of the Rearing Stallion, each varies slightly in the articulation of veins and the strands of mane and tail.  The present stallion is distinct in the leftward sweep of hair on the horse's forehead and delicately chiselled detail in the tail. Other versions of the model include those in the Robert H. Smith collection, the Bargello, Florence and one formerly in the Robert von Mendelssohn collection.

RELATED LITERATURE
C. Avery and A. Radcliffe, Giambologna 1529-1608. Sculptor to the Medici, exh. cat. (Edinburgh, London, Vienna, 1978) p. 183, nos. 165, entries by K. Watson; W. Bode, The Italian bronze statuettes of the Renaissance, (New York, reprint 1980), pl. CCII; A. Radcliffe and N. Penny, Art of the Renaissance Bronze: 1500-1650, The Robert H. Smith Collection (London, 2004) p. 269-71, no. 48