Padua, Italy, 16th century

the underside of the socle inscribed in white paint: WA/1775/A and with an old white label printed: RICCIO , acrobata pubbld... / Leo Planiscig Vienna 1927 / ...180 fig. 201

Replica Shoes 's, London, 17 July 1980, lot 118

Overall the condition of the bronze is very good with minor dirt and wear to the surface consistent with age, including small nicks and scratches. There is a small lacuna to the upper back at the spine and a few smaller lacunae between the legs at the proper right hand. There is a slight fissure below the beard. There are a few further minor casting flaws, such as at the proper left upper arm (inside edge). There are traces of a mid-brown lacquer in areas, particularly at the upper chest, neck and shoulders. There are traces of wax to the metal pin. There is some wear to the marble 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 stat.mes nt made by Replica Shoes '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 finely cast bronze oil lamp shows a bearded acrobat sitting in a crouched position, balancing on his knees. As with the earlier bronze oil lamp in this sale, when lit, the flame would appear to emanate from the acrobat's bottom. The present model was attributed to the great Paduan bronze caster Andrea Briosco, called Il Riccio (1470-1532), by Leo Planiscig in 1926 (Planiscig, op. cit., pp. 180-182), and this particular bronze was attributed to the Workshop of Riccio when it was sold in these rooms in 1980. However, another cast in the Metropolitan Museum of Art, New York, has also been attributed to the talented bronze caster Agostino Zoppo, who worked under Jacopo Sansovino (1486-1570) during the middle decades of the 16th century (inv. no. 1982.60.93). It is certainly true that the excellent quality of the casting of both the Metropolitan Museum bronze and the present figure relates to works attributed to Zoppo. The impressionistically modelled beard and the textured surface of the present cast compare with a figure of Chronos by Zoppo in the Metropolitan Museum of Art, New York (inv. no. 1997.512). Moreover, the elongated Mannerist facial features of the present figure place the date of the bronze into the third quarter of the 16th century, a generation after Riccio, and contemporary with Zoppo.

Given the nature of bronze production in Padua and Venice in the 16th century, it is, however, difficult to be sure of the identity of the artist who created the present bronze. What is beyond debate is that it was produced by a very talented hand. A cast from the French Royal collects ion (no. 114) is housed in the Musée du Louvre (inv. no. MR 3260), and there is another in the Liebieghaus, Frankfurt (Planiscig, op. cit., pp. 180-182; Bol and Beck, op. cit., nos. 220a and b).

RELATED LITERATURE
L. Planiscig, Andrea Riccio, Vienna, 1927, pp. 180-182; P. C. Bol and H. Beck, Natur und Antike in der Renaissance: Ausstellung im Liebieghaus Museum alter Plastik, exh. cat. Liebieghaus, Frankfurt am Main, 1985, pp. 507-508, nos. 220a and b; The Jack and Belle Linsky collects ion in The Metropolitan Museum of Art, cat. Metropolitan Museum of Art, New York, 1984, no. 59; S. Baratte, G. Bresc-Bautier, S. Castelluccio, S. Descamps-Lequime and A. Lefébure, Les Bronzes de la Couronne, exh. cat. Musée du Louvre, Paris, 1999, pp. 108-109, no. 114