Italian, probably Florence, late 17th century

private collection, Dublin

Overall the condition of the bronze is good with minor dirt and wear to the surface consistent with age. The arms are cast separately and joints are visible. The legs are cast separately and there are a few lacunae beneath the drapery here. There are a few further lacunae, including one to the front edge of the base. There are a number of small fissures, in particular in the legs, including a group of fissures in the lower proper left leg. There are a few small original casting plugs, including in the proper right shoulder. There is minor wear to 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."

This refined bronze figure of David is influenced by the work of Florentine sculptors predominently working in the 17th century. The elegant classicism is reminiscent of the work of Domenico Pieratti (1600-1656). Compare the softened ephebic musculature and almost languid pose with Pieratti's seated St. John the Baptist in the Bargagli Petrucci collection, Florence, and his standing St. John the Baptist in the Bargello (Pratesi, op. cit., figs. 456 and 462); note also the similar wistful expressions with open mouths. The curling Baroque sheep's pelt nonetheless indicates that the bronze dates to later in the 17th century. Similar animal skin drapery can be seen in bronzes by Giovanni Battista Foggini (1652-1725), see his Mercury and Argo for example (Pratesi, op. cit. fig. 211). A parallel can also be drawn with French 17th century sculpture, François Girardon's Apollo, for example, has a similar contraposto pose (Bresc-Bautier et al, op. cit. no. 73). French sculpture was influential on Florentine sculpture around 1700, particularly in the work of artists such as Giuseppe Piamontini (1663-1744).

RELATED LITERATURE
G. Pratesi (ed.), Repertorio della scultura Fiorentina del seicento e settecento, Milan, 1993, figs. 204, 211; G. Bresc-Bautier and G. Scherf (eds.), Cast in Bronze. French Sculpture from Renaissance to Revolution, exh. cat. Musée du Louvre, Paris, Metropolitan Museum of Art, New York, and Jean-Paul Getty Museum, Los Angeles, Paris 2008, pp. 278-279, no. 73