Italian, probably 18th century After a model by Giambologna(1529-1608)

on wood socle

Overall the condition of the bronze is very good. There is some wear to the surface consistent with age and handling, particularly to the drapery hanging from the pedestal Venus is seated on. Some minor nicks are visible at both knees, the proper right thigh, right shoulderblade and above her left eye. There is an original patch to the top of the upper right leg, an area where other minor casting flaws are visible. The otherwise warm brown surface appears spotted due to a worn black lacquer. A diagonal joint is visible at the proper right arm. There is some minor wear to the ebonised wood, brass inlaid socle consistent with age.
"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."

Giambologna's Architecture is one of a series of elegant allegories produced by the artist. Other figures in the series include Fortune and Astronomy, to which Architecture can be closely compared. Taking the nude female as their subject, the allegories are close to the artist's variations on the bathing nude and Venus (see lot 15). 

The only signed version of Architecture is in the Museum of Fine Arts, Boston. As one of the most recognisable and appealing of Giambologna's models, Architecture inspired reworkings by successive generations of sculptors. The present cast differs from the signed lifetime version in the missing drawing board, which would have been supported by the left hand, the missing pendant from the necklace as well as some simplification of the drapery.

RELATED LITERATURE
C. Avery and A. Radcliffe, Giambologna 1529-1608: Sculptor to the Medici, exh. cat. Victoria and Albert Museum, London, 1978, pp. 72-3, no. 17