After a model by Giambologna (1529-1608), Italian, 17th century

There is dirt and wear to the suface consistent with age including some nicks and scratches. There is rubbing to the patina throughout, leaving remnants of previous laquers. The bronze was cast in sections and there are a number of stable slightly visible original casting joints. There are a number of stable fissues including at the bottom of both legs,at the top of the proper left arm and at the sole of the proper left foot. There are a few small stable lacunae, including one at the proper left side of the neck. There are a few small spots of greening. The candle or implement the man was holding in his right hand is lost. There is dirt and wear to the base 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."

No other versions of this original adaptation of Giambologna's model of a bird-catcher are known to the present cataloguer. The subject shows a peasant  with a fowling-lantern held aloft in his left hand. The implement in his right hand is lost, but in some versions of the original model it  is a net and in others a stick. Two variant models exist and the present adaptation is cloes t o the variant known as Type 1.  Introducing the bird-catcher in the 1978 pioneering retrospective exihibition, Avery compared the bird-catcher to the Borshese Warrior, now in the Louvre. However, that antique marble is first recorded only in June 1611, so its direct influence on the great Florentine master is doubtful, but its impact on the present adaptation is unmistakeable (see following lot). 

Giambologna's peasant models were particularly taken up by his northern followers and the present model has elements in the facial type with German or Netherlandish bronzes, but the closest affinities, with both the drapery and greater dynamism of the compostions, are to be found in the work of Orazio Mochi (1571-1625), notably his double figure group known as the Saccamozzone players.

RELATED LITERATURE
C. Avery and A. Radcliffe (eds.), Giambologna 1529-1609. Sculptor to the Medici, exh. cat. Royal Scottish Museum, Edinburgh/ V&A, London/ Kunsthistorisches Museum, Vienna, 1978, no. 130, p.160-161