NORTHERN ITALIAN OR ITALO-FLEMISH, LATE 17TH CENTURY | Pair of Busts of Hercules and Omphale

Overall the condition of the marbles is very good, with minor dirt and wear to the surface consitent with age. The tip of Hercules' nose is either reattached or a replacement; a joint is slightly visible. There is natural brownish colouring to the marble, and some slight veining, consistent with the material. There are a few small naturally occurring inclusions, notably one to Omphale's proper left breast. There are a few small chips, including to the edges of the drapery and to the bottom edges of the socles.
"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."

Xenoclea, the oracle of Delphi, commanded that Hercules’s punishment for killing Iphitus, the son of king Eurytus, was to spend a year as the servant of Omphale, queen of Lydia in Asia Minor. This story allowed artists to enjoy scenes of male subjugation, female dominance, and various forms of role reversals and cross dressing. In the present pair of expertly carved (the busts conceived integrally with their socles) and polished busts, Omphale wears Hercules’s traditional symbol of manly prowess, his lion skin, whilst Hercules is dressed in a loose fitting shawl, partly covering his head and tied in fluttering bow at the front.  The undulating, billowing Baroque drapery and animated, theatrical relationship between the busts suggests a date in the second half of the 17th century. The high degree of polish and intricate carving indicate a sculptor working either in Northern Italy, probably Venice, or a Flemish sculptor, probably trained in Italy.