Romanelli Studio, Florence, early 20th century After Gian Lorenzo Bernini (1598-1680)

Overall the condition of the marble is very good, with minor dirt and wear to the surface consistent with age. Apollo's proper left foot appears to have been reattached, as a joint is very slightly visible at the ankle. There are a few small naturally occurring inclusions to the marble, including to both figures' backs. There some very slight veining to the marble, consistent with the material, including to Apollo's face. There are a few minor chips, including to some of the leaves at the top, to Apollo's hair, and to the edges of the base.
"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."

Gianlorenzo Bernini's Apollo and Daphne of 1622-25 introduced an entirely new sculptural aesthetic and is widely admired as one of the great masterpieces that ushered in the Baroque period in sculpture. He depicts the moment Daphne turns into a tree in a clever play on the sculptural medium. 

For the last and most ambitious of Bernini’s iconic mythological groups, the artist naturally found his inspiration in Antiquity, turning to the renowned Apollo Belvedere which stood in the Vatican. The skill of Bernini’s transformation of the pose adopted by the antique is truly astounding, endowing his model with great energy and dynamism, whilst capturing the god’s shock and breathlessness at the end of the chase.

Baldinucci’s biography of Bernini describes how immediately after the marble was finished, ‘such acclamation arose that all Rome rushed to view it as though it were a miracle.’ This rapturous response to Bernini’s group as a divine relic is echoed in the morality of its accompanying Latin inscription:

The lover who would fleeting beauty clasp
plucks bitter fruit; dry leaves are all he’ll grasp.

RELATED LITERATURE
C. Avery, Bernini: Genius of the Baroque, London, 1997, pp. 55-56