Italian, circa 1900 After the Antique

The surface of the bronze is consistent with it having been outdoors for much of its life. The surface has consequently greened. The bronze may have been cast with the purpose of being an outdoor sculpture and thus the green patina is intentional. In consideration of the above, the bronze is in good condition overall with dirt and wear consistent with age. The green patina is variated, with areas of tonal contrast such as at the proper right side of the face. In areas the brown-gold colour of the bronze is visible, such as under the proper left breast and between the legs at the back. There are some areas of particular wear to the patina including to the proper right lower leg at the back. The patina has streaked a little in areas, in particular down the back where there are brownish streaks, possibly due to moisture. There are a few areas of abrasion such as at the proper right buttock and at the side of the proper left thigh. There are some minor casting flaws such as pitting. The sides of the base may have warped a little.
"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."

By 1638, the iconic Venus de'Medici was certainly located in the Villa Medici in Rome, from which she acquired her name. In 1677 she was sent to Florence and installed in the Tribuna of the Uffizi, where she remains to this day, having been briefly replaced by Antonio Canova’s Venus Italica during her sojourn in France between 1803 and 1815. Thought to be a Graeco-Roman adaptation of the fabled Aphrodite of Knidos by Praxiteles, the Venus de’Medici counts among the most glorified and controversial statues from antiquity. Every inch of the marble has been scrutinised in her long reception history, from Lord Byron’s gushing 'description of the indescribable' to the Duke of Shrewsbury’s criticism of her arms. It is perhaps partly because of her illustrious position and provenance that the Venus de'Medici is the most famous of several ancient marbles depicting the goddess in the alluring pudica pose, notably the Capitoline Venus. The statue's notorious beauty inspired countless copies throughout the centuries, including plaster casts, full-size marbles and reductions in bronze.

RELATED LITERATURE

F. Haskell and N. Penny, Taste and the Antique. The Lure of Classical Sculpture 1500-1900, New Haven/London, 1982, pp. 325-328