After Giambologna (1529-1608), Italian, Florence, first half 17th century

with a paper label on the base inscribed: #16 4-8-'95

Overall the condition of the bronze is good. There is wear and dirt to the surface consistent with age. There are some minor nicks and scratches to the surface. The dark lacquer patina has wear throughout including areas of flaking in the crevices. There are a few stable minor casting fissures visible on the surface including to the front left and back right corners and centre of the back of the base, around the nymp's waist and at her proper left angle. The group was cast in sections: the satyr is slightly loose and joints are visible at the proper right shoulder of the nymph and both legs of the satyr. The base has some wear and there are a few minor losses to the tortoiseshell. The bronze finial on on of the corners is lost.
"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."

The composition of the Sleeping Nymph with Satyr, attributed to Giambologna, is first thought to have been recorded on 7 April 1584, when Grand Duke Francesco I de' Medici sent to his brother Cardinal Ferdinando de' Medici 'una nuda in atto di dormire.' In 1587, the inventory of the Dresden Kunstkammer documents another bronze version of the subject, which was sent as a diplomatic gift to the Elector Prince Christian I of Saxony and remains to this day in Dresden in the Grünes Gewölbe [inv. no. IX 34].

In this model, a nymph reclines languidly across a chaise longue, her nude body presented in a state of complete relaxation and slumber. The nymph is believed to have been largely inspired by the Cleopatra or Ariadne from the Vatican Museums, here transformed into 'a study of the reclining female nude in a complex yet relaxed pose' (op.cit. Radcliffe and Penny, p. 192). The lecherous faun, who creeps up to her and dares to lay his hand on her right leg, is widely thought to be the invention of Adrian de Vries. His lascivious grin, excited hand gesture and precarious position on the edge of the couch contrast starkly with the languid pose of the sleeping nymph, whose idealised body forms an elegant S-shaped curve. The inclusion of this second figure serves to create a moralising contrast between the innocence and purity of the nymph and the corrupt baseness of the satyr, whilst presenting the educated viewer with an amusing narrative. It has been suggested that the group may be related to one of the woodcuts from the Hypnerotomachia Poliphili depicting a satyr unveiling a nymph (op. cit. Radcliffe and Penny, p. 194).

The present bronze is finely chased, with particular attention having been paid to the surfaces of the chaise longue and to details such as the teeth of the satyr and the decorative borders of the pillows. It is distinguished by its attractive Louis XIV base, inlaid with brass and tortoiseshell. The satyr's mask with ass's ears and horns adorning the back of the chaise longue differs from the bat head or skull seen on some casts, and enhances the sense of joviality and eroticism inherent in the group. A satyr's mask with the same features can be seen on a cast in the Museum Boijmans Van Beuningen, Rotterdam [inv. no. 1123].

RELATED LITERATURE
A. Radcliffe and N. Penny, Art of the Renaissance Bronze 1500-1650, cat. Robert H. Smith Collection, London, 2004, no. 32, pp. 192-195; W. Seipel, Giambologna: Triumph des Körpers, exh. cat. Kunsthistorisches Museum, Vienna, 2006, nos 8, 9, pp. 205-211; B. P. Strozzi and D. Zikos, Giambologna gli dei, gli eroi, exh. cat. Museo Nazionale del Bargello, Florence, 2006, no. 23, p. 207; M. Leithe-Jasper and P. Wengraf, European Bronzes from the Quentin Collection, exh. cat. Frick Collection, New York, 2004, no. 11, pp. 134-145