Importante paire de chevaux

la crinière, la queue et les pieds finement modelés, les veines apparentes, l'un marche au pas, l'autre est cabré

Overall very good condition with some worming holes and joined visible at several places. The laquered wooden surface appears to have been refreshed at several places. A few minor cheeps and hairline cracks visible to the surface at several places. The wooden painted base imitating marble consists on two elements. Rearing horse : A few minor cheeps to the edges. Horizontal joints visible to the horse's head and neck. The legs appear to have been carved separately, joints visible to the thigh. His proper right hind leg appears to have been reattached at some later time (patch visible above the joint hidden by the laquer). Walking horse : Legs also carved separatly and inserted in the horse's body. Joints visible especially to his proper left foreleg ; left hide leg shows similar patch for reconsolidation under the lacker. A few more joints and hairline cracks visible to all legs.
"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."

Ces impressionnants chevaux en bois peint se distinguent par la finesse du modélé et leur taille exceptionnelle. On remarque la virtuosité dans le rendu de chaque détail, tels les veines apparentes sous la croupe du cheval, les clous modelés du fer sous chaque pied, et la longue crinière ondulée.
Plusieures études ont été menées, et la destination de ces beaux modèles reste encore incertain. Pegazzano les rapproche des oeuvres de Giambologna (1529-1626) et d'Adrian de Vries (1556-1626) à Florence, on les comparant aux plâtres plus que grandeur nature, réalisés par Giambologna vers 1565 à l'occasion de l'entrée triomphale de Jeanne d'Autriche, épouse de Francesco I de Médici, pour orner la quadriga de l'arc de triomphe à Florence.
Zikos suggère plutôt une origine française ou nordique au XVIIe et suppose que ces chevaux décoraient vraisemblablement le sommet d'un grand cabinet ou faisaient partie d'un décor architectural éphémère, réalisé à l'occasion de l'entrée triomphale d'un souverain.