Italian, Rome, early 19th century After the Antique

private collection, Dublin, Ireland;
private collection, Staffordshire, United Kingdom;
the present owners

Overall the condition of the marble is good with minor dirt and wear to the surface consistent with age. The surface itself is in very good condition. There are some small chips and abrasions to the terrasse. The fingers and thumb on the proper right hand are reattached and restored.
"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 Apollo Belvedere in the Vatican ranks among the most celebrated statues from antiquity. Today thought to be a Hadrianic copy, made in c. 120-140 AD, of a fourth-century BC Greek bronze original, the statue was excavated in Rome in 1489. With its installation in the Cortile del Belvedere in 1511, the Apollo received a vast amount of attention from artists and commentators alike. The most influential of these was J.J. Winckelmann, who dedicated pages to the Apollo’s beauty and hailed it as the embodiment of antique ideals. The statue’s fame continued well into the nineteenth century, when it was still widely copied. This is a particularly sensitive reduction with a beautifully polished surface, which captures the elegant poise of the original. Despite the signature, it is unlikely to be work of Joseph Nollekens. However, its beautiful polished surface and excellent carving in the face would certainly indicate an early 19th-century date.

RELATED LITERATURE
F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture 1500-1900, New Haven/London, 1981, pp. 148-151.