A pair of plaster sculptures, after the Antique

each in the form of a centaur supported on a tree stump one applied with oak leaves and acorns and pan pipes, the other with cymbals

The colour is less greenish and more cream coloured and attractive than appears in the catalogue. The sculptures have been set into the bases as there is evidence of this around the hooves as visible from the catalogue illustration. There are some very minor chips, cracks, and scratches which do not detract from the piece. An unusual lot in overall good condition. Beautifully modelled. Highly decorative.
"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."

Comparative Literature:
F. Haskell & N. Penny, Taste and the Antique, The Lure of Classical Sculpture 1500-1900, pp. 176-178, no. 20, figs. 91-92.

These plaster sculptures are based upon the Antique Furietti Centaurs in the Capitoline Museum, Rome, illustrated by Penny & Haskell, op. cit., figs. 91 & 92. The Furietti centaurs were engraved in 1738 and 1739 and were stated to have been found in 1736 in the excavations at Hadrian's Villa, where they apparently stood in the domed hall of the small palace. They were in Furietti's rooms in Palazzo di Montecitorio and were purchased not long before 19th June 1765 by Pope Clement XIII from Furietti's heirs and placed in the Capitoline Museum.  Copies were made in both marble and bronze and bronze copies were employed to frame the bridge at Malmaison and two pairs originally in marble framed each end of the bridge in the park at Pavlovsk.