Attributed to the workshop of Nicolò Roccatagliata (circa 1560-1629) and Sebastian Nicolini (active until after 1636) Italian, Venice, early 17th century

Overall, the condition of both bronzes is good, with dirt and wear to the surface consistent with age. Both bronzes were cast in sections, and joints are visible around the feet on the terrasses, and where the wings connect with the Angels' backs. There are a few casting flaws, including to the proper right foot at the back of the angel with the crown, and to the same angel's proper left foot, and to the top and the bottom edge of the terrasse of the other angel, and to the proper right arm of the same angel at the elbow. There are spots of greening in areas, in particular to the back of the angel without the crown at the drapery. There is some white paint to the back of the same angel's proper left wing, and a spot of white paint to his proper left forearm. There is minor pitting to the bronzes throughout. The wooden bases are in good condition, with minor splitting to the wood, consistent with the material.
"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 attribution of this charming pair of Angels is based largely on a comparison with the Angels from the High Altar of the Venetian church of San Lorenzo, which are now in the Museo Correr (Rossi, op. cit.). Traditionally given to Girolamo Campagna, these figures have recently been re-attributed to Nicolò Roccatagliata and his son, Sebastian Nicolini (Kryza-Gersch, op. cit.). The sweetly smiling, heavy-lidded features, dense wavy hair and angular drapes of the present figures are characteristic of the Roccatagliata workshop. 

RELATED LITERATURE
P. Rossi, Girolamo Campagna, Verona, 1968, p. 57, pls. 45-52; C. Kryza-Gersch, 'Due altari seicenteschi a San Marco: Nicolò Roccatagliata e Sebastiano Nicolini, e la produzione di ornamenti in bronzo per le chiese veneziane', in M. Ceriana and V. Avery (eds.), L'Industria artistica del bronzo del Rinascimento a Venezia e nell'Italia settentrionale, Verona, 2008, pp. 253-272, p. 270