Northern Italian, circa 1550-1600

Probably the cast sold Sotheby’s London, 14 December 1978, lot 107;
private collection, North Lincolnshire, United Kingdom 1978-2015

Overall, the condition of the bronze is good, with minor dirt and wear to the surface consistent with age. There is some rubbing and flaking to the lacquer patina, notably at the high points. There is particular rubbing to the snout, behind the proper right ear, to the proper right hind leg and to the proper left front leg. There is a small stable casting fissure to the top of the proper left leg. There are a few minor nicks, and there is some dryness to the patina on the underside. The modern wood base is in very good condition with minor wear and remnants of a paper label to the underside.
"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."

Casts of the present model of a male goat, leaping forward while swinging its head to butt its opponent, are in two of the world's major sculpture collections: the Kunsthistorisches Museum in Vienna and the Bode-Museum in Berlin (inv. nos. 5862 and KFMV 93 respectively). Three further examples were in the sale of the Bardini collection at Christie, Manson, and Woods on 5 June 1899 (lot 457); in the exhibition Bronzen uit de Renaissance van Donatello tot Frans Duquesnoy at Laarne Castle in 1967 (op.cit., no. 40); and with Rosenberg & Stiebel in 1985 (op.cit., no. 48). Even though it has been suggested by Draper that this model originated in the Netherlands (op.cit.), most authors cited below have attributed the model to Northern Italy because of its similarity to prototypes by Andrea Riccio and his circle in early 16th-century Padua on the one hand, and larger groups with goats by the Florentine sculptors Ferdinando Tacca and Damiano Cappelli in the next century on the other.

During the Renaissance the goat was a symbol of male sexuality and was also associated with the ancient Roman god of wine, Bacchus. In Christian symbolism, on the other hand, the animal usually represented Lucifer. This duality would have fascinated Renaissance humanists, who therefore added statuettes of goats such as the present to their studies and collector's cabinets as talking points for their learned friends. 

RELATED LITERATURE
F. Goldschmidt, Die italienischen Bronzen der Renaissance und des Barock, cat. Staatliche Museen, Berlin, 1914, vol. I, p. 43, no. 205, pl. 61; L. Planiscig, Die Bronzeplastiken, cat. Kunsthistorisches Museum, Vienna, 1924, pp. 45-46, no. 80; Catalogus van de tentoonstelling gewijd aan bronzen uit de Renaissance van Donatello to Frans Duquesnoy behorend to Belgische prive verzamelingen, exh. cat. Kasteel Laarne, 1967, p. 60, no. 40; M. Leithe-Jasper, Italienische Kleinplastiken, Zeichnungen und Musik der Renaissance, Waffen des 16. und 17. Jahrhunderts, Vienna, 1976, no. 141; P. Hunter-Stiebel, A bronze bestiary, exh. cat. Rosenberg & Stiebel, New York, 1985, p. 67, no. 48