An Italian Marble Figure of Saint George, Circle of Tino da Camaino (Circa 1280-1337), Circa 1350, Possibly Naples

the heavily draped saint holding a broadsword in his right hand and a shield in his left, remainders of polychromy.

Acquired by Denys Sutton between 1957 and 1972

Overall wear and chipping throughout, including: chip to the tip of nose, chip to one quillon of sword, chipping to the edges of shield. A diagonal internal crack from center of shield to lower right of base continuing through underside of sculpture. A horizontal internal crack through the front and back of his right side above his ankles. Both cracks with restoration. Two old iron staples to stabilize cracks. Two apertures on reverse with lead fill, probably from another staple. Large loss to left lower back side of drapery. Two vertical apertures behind shoulders with fill, possibly for attachment to a niche.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

RELATED LITERATURE
F. Baldelli, Tino da Camaino, 2007

Tino da Camaino worked in Siena, Pisa, Florence and Naples and was greatly influenced by the sculpture of Giovanni Pisano, with whom he collaborated, and the paintings of Simone Martini. Tino's work is distinguished by his ability to depict significant volume (notably in his carving of drapery) coupled with a graceful and elegant figure style.

The present figure of Saint George shares one of Tino's most characteristic facial types: the elongated, narrow eyes and triangular nose. While the impression of volume in the drapery is evident, the formal, fixed pose and compactness of this composition indicate that the work is by an associate or follower of Tino.

Denys Miller Sutton (1917-1991) assumed the role of editor of the London-based arts magazine Apollo in 1962, and retained this position for about 25 years, during which he considerably expanded the scope of the publication, addressing sensitive art preservation issues, attracting new contributors among prominent art historians and writers, writing many articles himself, and devoting several issues to the collections of museums around the world. His strong and unrelenting interest in the visual arts was a lifelong pursuit: he served as secretary of the international commission for the restitution of cultural material after World War II, worked as an art critic for Country Life and the Financial Times, authored several books on painting, including works on Watteau, Toulouse-Lautrec, Matisse, Picasso, and Whistler, and organized several exhibitions abroad such as shows on Constable and Titian in Tokyo. The Oxford Dictionary of National Biography (vol. 53, Oxford, 2003, p. 382) describes him as an "astute collector of art."