An Italian bronze figure of Morgante, after a model by Giambologna (1529-1608), early 17th century, Florence

David Peel, London
Sotheby's New York, May 29-30, 1981, lot 161

M. Leithe-Jasper and P. Wengraf, European Bronzes from the Quentin Collection (exh. cat.), The Frick Collection, New York, 2004, p. 162

Standard wear, surface abrasions and divets. Small casting flaws including small crack and plug between his legs. Dents and small loss to edge of cup. Loss to implement in his proper left hand. Lovely rich color. Standard wear to base.
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.
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Ironically named after the giant of Luigi Pulci's romantic epic, the dwarf Morgante (circa 1535-after 1594) was the beloved court jester to Cosimo I de' Medici and the successive two Grand Dukes of Tuscany; Vasari describes him as "... ingegnoso, letterato e molto gentile, favorito del Duca nostro."  Bronzino's recently-restored double sided portrait was recorded in 1553; a life-sized marble of Morgante Astride a Tortoise in the Boboli gardens by Valerio Cioli dates from 1561-1568; and a bronze figure by Giambologna now in the Bargello of Morgante Seated on a Sea Horse was cast in 1582 according to documents.  Radcliffe (op. cit., p. 103) considers that the model for the present statuette must originate with Giambologna in the 1580s.  Leithe-Jasper and Wengraf (op. cit., pp. 162-165) expand upon his categorization of the variants, with the present figure belonging to the earliest version Type Aa, holding a wine cup in his right hand (there listed as "ii New York").  Considering the apparent age of the subject, they suggest that Giambologna's original invention is of an earlier date, as it compares most closely to the Bronzino portrait.

RELATED LITERATURE

C. Avery and A. Radcliffe, Giambologna (1529-1608): Sculptor to the Medici, London, 1978, nos. 51-53, pp. 102-104