After a model by Adriaen de Vries (circa 1556-1626) Probably French, circa 1700

With Otto Wertheimer, Paris, 1962;
The Cleveland Museum of Art, purchase from the J. H. Wade Fund; 
its sale, Christie's New York, 22 November 2011, lot 2

W. D. Wixom, Renaissance Bronzes from Ohio Collections, cat. The Cleveland Museum of Art, 1975, no. 213

Overall the condition of the bronze is good with minor dirt and wear to the surface consistent with age. The bronze is of good quality with an attractive patina. The original casting technique left various fissures, lacunae and joints which have been subsequently professionally (and effectively) conserved. A detailed examination follows: There are a series of stable original fissures and lacunae in the bronze, which have been concealed with composite and wax in the same colour as the bronze. These fissures and lacunae are particularly located at Tarquin's at both figures' backs. There are further fissures down Tarquin's back. There are stable original joints, in particular at both figures' arms and at the top of Tarquin's proper right leg and Lucretia's proper left leg. There a slightly visible joint at Tarquin's neck. Again, these joints have fissures and lacunae which have been concealed with composite and wax. A section of Tarquin's torso below the proper left armpit is cast separately. There are a number of stable original plugs; in particular two square plugs at Tarquin's proper left thigh and a plug under Tarquin's proper right nipple. The underside of Tarquin's proper right foot is cast separately. The integral bronze base is cast in sections and joints are slightly visible. There are some small openings in some joints. There are various original small pins and plugs, in particular at the integral base. There are some minor casting flaws such as small lacunae, including to Tarquin's head. The base is a little open at the bottom at the front (i.e. it doesn't sit flush to the wood base). Tarquin's blade is lost. There is a little rubbing to the patina in areas including to the figures' feet and hair. There are some minor scratches including to the backs and to Tarquin's proper left elbow, and some wax residues including to Tarquin's back. There are a few small spots of greening including to Tarquin's head. There are a couple of golden spots to Tarquin's back. The later wood base has minor wear particularly at the edges.
"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."

Previously attributed to Hubert Gerhard, this elegant model has since Frits Scholten’s 1998 publication (op. cit.) been accepted as conceived by Adriaen de Vries. Representing the struggle between Sextus Tarquinius and the virtuous married woman Lucretia, as recounted by Livy, the composition is closely related to Gerhard’s Mars, Venus and Cupid (now in the Bayerisches Nationalmuseum). De Vries perhaps wished to rival Gerhard’s precedent, and composed his group from two of his pre-existing models, a Gladiator and a Cleopatra. Tarquin and Lucretia appears to have enjoyed significant popularity as a model, and it survives in a number of casts, including examples in the Metropolitan Museum (inv. no. 1982.60.122) and the Walters Art Museum, Baltimore. While none of the known casts are considered autograph, there are variations in quality and details which allow for a vague chronology. The inclusion of a drape around Tarquinius' thigh in the present, fine cast suggests a later dating than for the bronze in a private English collection discussed by Scholten (op. cit., p. 136), which is considered closest to De Vries's presumed original.

RELATED LITERATURE
F. Scholten, Adriaen de Vries: 1556-1626, exh. cat. Rijksmuseum, Amsterdam, Nationalmuseum, Stockholm and J. Paul Getty Museum, Los Angeles, Amsterdam, 1998, pp. 134-136