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Summing up the evidence on these two monkeys. There are facts. They fit the niche
well to be seen from all angles. The poses are appropriate, they seem to belong to the
fountain and match the monkeys in the Uffizi drawing. They show traits of Giambologna,
manicured finger nails, hammered finish etc, and follow the pose of his famous Mercury.
Their condition is consistent with being in the open for only a short time which history
confirms (1569-1584). Their varied condition indicates they could well have been in
different positions around the fountain. There is independent proof of age from a
metallurgist at Oxford University that they are old, consistent with the date claimed for
them and the unrefined nature of the metal would seem to support this. They are made by
the lost wax casting process, consistent with an early date. Their being leaded bronzes
and the use of square core pins as revealed by X-rays give an indication of
Giambologna’s workshop practice. The selected working up, and a refined finish where
it really matters, those parts nearest an onlooker, is consistent with being on a
fountain. If they are in any style, then one would say it is a lifelike, naturalistic
style. From the evidence of Giambologna’s other animal bronzes we can see he worked
from life. Although they are small the fountain itself is small and they would show up
well. No other monkeys of this pose have come to light. Their quality and all the evidence
make it difficult to see how they could be copies. A copyist would have to successfully
overcome many problems. They are not 19th century.
Are these two of the missing monkeys? The market will decide on 30th July 2008.
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