After a model by Giambologna (Netherlandish, Douai 1529–1608 Florence)
Bronze, with red-brown lacquer patina
Height: 17 1/2 in. (44.5 cm)
The Jack and Belle Linsky Collection, 1982
Not on view
The original composition dates from about 1587 to 1589. In the latter year, Jacopo Bylivelt cast a silver statuette of the subject, one of six Labors of Hercules after Giovanni Bologna’s models, which has been ordered by Francesco I de’ Medici for the Tribuna of the Uffizi. The beautifully ponderated model proved highly successful, and several bronzes of it exist. The one now in Vienna was the earliest to be documents; it appears in the inventory of the collections of Emperor Rudolph II compiled between 1607 and 1611. The present statuette is extremely light in weight, with a dark but warm brown patina and richly variegated tool marks, such as the punch marks that articulate the club. These characteristics are typical of bronzes case by Ferdinando Tacca (1619–1686) well into the seventeenth century. Tacca was a sculptor of some independence, and this bronze probably should not be attributed to him personally. He was, apparently, the author of a clear-cut variant, in the Louvre.
[James David Draper, 1984]
Footnotes:  See A. Radcliffe, in Giambologna,1529–1608: Sculptor to the Medici (exhib. cat.), A Radcliffe and C. Avery, eds., London, Arts Council of Great Britain, 1978, pp. 122–23, nos. 78, 79.
 See A. Radcliffe, “Ferdinando Tacca, the Missing Link in Florentine Baroque Bronzes,” in Kunst des Barock in der Toskana: Studien zur Kunst unter den letzten Medici, Munich, 1976, pp. 14–23.