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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Tomasso
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30 Oct 2024 10:30 GMT
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A LARGE BASALT BIRD PESTLE TAINO CULTURE, CARIBBEAN, 13TH - 15TH CENTURY 20.5cm high
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WORKSHOP OF ANTONIO SUSINI (FL.1575-1624) A BRONZE FIGURE OF A PEDLAR
AFTER GIAMBOLOGNA (1529-1608), 17TH CENTURY
Oval base, marble plinth
bronze 12.5cm high, base 4.5cm wide, 14.5cm high overall
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AFTER THE ANTIQUE- A LEAD FIGURE OF HERMES ITALIAN, 18TH/19TH CENTURY With winged boots, 15cm high, base 4.5cm wide
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AN ITALIAN BRONZE FIGURE OF NARCISSUS POSSIBLY NAPLES, LATE 19TH CENTURY 27cm high, base 10.5cm diameter
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A BRONZE CORPUS
FLORENTINE, 17TH CENTURY
41cm high, 36cm wide
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AN ITALIAN BRONZE FIGURE OF A STRIDING PUTTO
17TH CENTURY
On a pietra dura base
figure 11cm high, 18cm high overall
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AFTER THE ANTIQUE- A BRONZE FIGURE OF THE SEATED HERMES
ITALIAN, 19TH CENTURY
20cm high, base 18cm wide
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A BRONZE CORPUS
FLORENTINE, 17TH CENTURY
25cm high, 19.5cm wide
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Lot location: Newbury, Berkshire
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A RARE ROMAN MARBLE HEAD OF A BOY AS EROS
CIRCA 1ST/2ND CENTURY A.D., ON A 16TH CENTURY BUST AND SOCLE
The head set on Renaissance shoulders, further turned socle below
60cm high overall, 35cm wide across the shoulders
Provenance;
Private collection, France.
Literature;
C. Giroire & D. Roger, Roman Art from the Louvre , exh. cat., Musée du Louvre, Paris, 2007.
V. Dasen, 'Wax and Plaster Memories: Children in Elite and non-Elite Strategies', in V. Dasen and T. Spath (eds.), Children, Memory, and Family Identity in Roman Culture , Oxford, 2010, pp. 109-145.
J. Huskinson, 'Constructing Childhood on Roman Funerary Memorials', Hesperia Supplements , vol. 41, (2007), pp. 323-338.
Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture , Vol. I, St. Petersburg, 1921, pp. 43-48.
Epitomising youthful charm, this work shows the thoughtful expression typical of classical portrait busts. His soft face is characterised by supple cheeks, full lips, almond-shaped eyes, and dimpled chin. The boy's hair is styled in the guise of Cupid, the Roman God of affection and desire; a large central braid which runs from the forehead to the crown of his head parts gently tousled thick waves of hair. Though this distinctive hairstyle can be traced back to depictions of Eros from Hellenistic Greece, it was adopted by the Romans in the following centuries as a defining characteristic of the deity Cupid. Whilst the bust's large central braid leads to an identification with Cupid, the slightly imperfect, asymmetric facial physiognomy suggests that the work was sculpted as a private commemorative portrait. A particularly popular practice in the second century A.D. saw the sculpting of portrait busts with personalised features styled into an overall type of mythical figure, and examples can be found in both the case of adults and children.
Comparison can be drawn both with a circa 2nd century A.D. marble Roman Child (previously in the Hermitage Museum, St. Petersburg) and circa 2nd century A.D. marble Head of a Boy or Harpocrates (previously in the Collection of Etienne Duval (1824-1914), Geneva)- both illustrated in Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture , Vol. I, St. Petersburg, 1921, pp. 43-48 viewable online in Russian and English WALDHAUER CHAPTER THREE <https://ancientrome.ru/publik/article.htm?a=1409609054>
Further images for the Duval head are viewable online here HERE (1) <https://www.bge-geneve.ch/iconographie/oeuvre/fbb-n18x24-clients-03870-b> HERE (2) <https://www.bge-geneve.ch/iconographie/oeuvre/fbb-n18x24-clients-03870> and HERE (3) <https://www.bge-geneve.ch/iconographie/oeuvre/icon-p-1953-165> the last being a reproduction of the portrait of Etienne Duval by Henry van Muyden (1860 - 1936),with the winged head conspicuous in the background.
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A BRONZED TERRACOTTA FIGURE OF BACCHUS
ITALIAN, 18TH CENTURY
Depicted seated, holding grapes, wine casket by his side
31cm high
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7,000 - 10,000 GBP
BY GIUSEPPE VALADIER (1762-1839), AFTER THE ANTIQUE- A BRONZE FIGURE OF THE FLORA FARNESE
EARLY 19TH CENTURY
60.5cm high, base 20.5cm wide
Literature :
F. Haskell and N. Penny, Taste and the Antique: The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 217-219.
A. González-Palacios,Luigi Valadier: Splendor in Eighteenth-Century Rome, exh. cat., The Frick Collection, New York, 2018.
This bronze can be dated to the early 19 th century by a design detail. After Carlo Albacini's restoration of the 2 nd century AD Roman marble original figure at the end of the 18 th century- the statue was sent to Naples in 1800. Here Filippo Taglioni substituted a nosegay or bunch of flowers for the previous wreath or garland. The fine workmanship of the bronze's surface, whose treatment subtly accentuates the different textures of the hair, skin and drapery, together with the definition of details such as the fingernails, and the high quality of the modelling, points to its production in an established Roman workshop- almost certainly that of Valadier.
In the Registro Generale of 1810, an inventory which documents the contents of the workshop when it belonged to Giuseppe, in there are two records relating, in all likelihood, to the Flora Farnese model: ' Figura la Flora di creta cotta alta palmi 1⁶⁄₁₂ (Figure of the Flora in baked clay, 1⁶⁄₁₂ palmi high); 4 scudi', and ' Figura di Cera la Flora ' (Figure of the Flora in wax); 6 scudi' (González-Palacios 2018, pp. 484-485), which may be identified as the model of the present bronze.
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AFTER GIAMBOLOGNA (1529-1608)- A GILT BRONZE CORPUS FLORENTINE, 17TH CENTURY Set on an ebonised wood cross 55cm high, 31.5cm wide overall
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AN ITALIAN WAX HEAD OF ATHENA
18TH CENTURY
Depicted with Gorgon helmet, on later ebonised turned wood socle
15cm high, 22cm high overall
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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10,000 - 15,000 GBP
AFTER THE ANTIQUE- A PAIR OF BRONZE BUSTS OF THE BORGHESE GLADIATOR AND LYSIMACHUS
FLORENTINE, EARLY 18TH CENTURY
On Giallo Antico marble socles
busts 26cm and 22cm high, 36cm and 32cm high overall, bases 12.5cm wide
Provenance:
Private collection, United Kingdom
These busts depict two bronze reductions after ancient marble statues. Sculptural reductions and adaptations such as these typify the fascination with the ancient world that preoccupied artists and their patrons throughout Europe during the late 17 th and 18 th centuries.
The first bust can be identified as a copy of an ancient Greek marble statue, known more famously as the Borghese Gladiator . Excavated shortly before 11th June 1611 in Anzio, on the west coast of Italy, the sculpture entered the collection of Cardinal Borghese at some point before 1613. Purchased by Napoleon in 1807, alongside most of the Borghese collection of antiquities, The Gladiator , as it was then known as, arrived in Paris the following year, where it remains to this day.
The second bronze is based on a life-size ancient Roman marble bust in the Museo Archeologico Nazionale in Naples, which previously formed part of the Farnese collection of antiquities. Since the eighteenth century, the identity of the figure has been debated, and the bust was subject to various attributions, particularly as Aratus, Demosthenes, or a Roman General. The bust is now agreed to be a portrait of the Macedonian general, successor of Alexander the Great and eventual King of Thrace and Asia Minor, Lysimachus (c. 360-281 B.C.).
Literature :
F. Haskell & N. Penny, Taste and the Antique: The Lure of Classical Sculpture, London, 1981, pp. 182-184, 221-224.
Condition Report:
Some paler patination from handling, age and use to exposed edges and margins of anatomy
Condition Report Disclaimer
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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8,000 - 12,000 GBP
A WHITE MARBLE HEAD OF A SATYR
ITALIAN, 16TH/17TH CENTURY
on a turned marble socle
head 27.5cm high, 40.5cm overall
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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4,000 - 6,000 GBP
A LARGE POLYCHROMED CARVED WOOD PORTRAIT OF A SAINT
ITALIAN, 17TH CENTURY
Right hand raised in blessing, left hand holding staff end
53cm high, 45cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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8,000 - 12,000 GBP
A PAIR OF PAINTED AND GILTWOOD FIGURES OF ANGELS BEARING CORNUCOPIA PRICKETS
PROBABLY SIENESE, LATE 15TH CENTURY
Depicted seated, opposing, supporting candle branches
88cm high, 41cm wide at the wings
Literature :
Scultura lignea Sacri in Valtellina e Valchiavenna e preziosi tra Gotico e Rinascimento, Museo valtellinese di storia e arte (2005) no. 18, pp. 102-7;
D. Pescarmona, " Le esperienze comensi di Giovan Angelo del Maino, le docorazioni grottesche" in Scultori e intagliatori del legno in Lombardia nel Rinascimento (Milan, 2002) pp.164-71.
This rare pair of angel torchères would probably originally have formed part of an elaborate wood altarpiece. The sculptor has devoted much attention to detail with intricate breast plates and greaves embellishing the calves of their legs, incorporating a base with twin-tail mermaids and angels reminiscent of bronze bases of the high Renaissance.
This use of classically inspired friezes in polychrome and gilt wood sculpture is found in Lombardy from the late fifteenth century notably the altarpieces of Giovan Angelo del Maino in particular that in Como Cathedral (1514) as illustrated by Pescarmorna. A further comparison can be made with the altarpiece, circa 1520, in the church of St. Maurice in Ponte as illustrated in the Valtellinese exhibition catalogue.
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4,000 - 6,000 GBP
A ROMAN WHITE MARBLE HEAD OF A WOMAN
1ST/2ND CENTURY A.D.
On a modern metal base
bust 25.5cm high, 21.5cm wide,
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2,500 - 4,000 GBP
E CIULLINI (LATE 19TH/EARLY 20TH CENTURY) A WHITE MARBLE BUST OF FILOMENA
DATED 1900
Depicted resting on two books, the spine of one inscribed Decamerone, signed on verso E Ciullini Firenze 1900
58cm high
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AN ITALIAN TERRACOTTA FIGURE OF POLIMNIA,
19TH CENTURY
28.5cm high, base 10.2cm wide
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10,000 - 15,000 GBP
AFTER THE ANTIQUE- A WHITE MARBLE FIGURE OF STANDING MALE NUDE
ITALIAN, 18TH CENTURY
107cm high, base 29.5cm wide
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Auction date(s): 29 Oct - 30 Oct
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20,000 - 30,000 GBP
A RARE PAIR OF WHITE MARBLE SPHINXES ITALIAN, 13TH/14TH CENTURY Leonine bodies with female heads taller 70cm high, 73.5cm wide, smaller 68cm high, 72cm wide Provenance: Private collection, Ghent, Belgium For a comparable example of this style of facial portraiture from this period especially the detailing to the eyes and twisted mouth- please see Maria Stella Calò Mariani , Raffaella Cassano: Federico II, Immagine e poetre , Marsilio, 1995: Pp.75, lower left " Testa di Vecchio ", Vienna Kunsthistorisches Museum.
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Auction date(s): 29 Oct - 30 Oct
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1,000 - 2,000 GBP
A PLASTER BUST OF PARIS
ITALIAN, 19TH CENTURY
56cm high
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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2,000 - 3,000 GBP
A BRONZE FIGURE OF WINGED VICTORY
FRANCO-ITALIAN, 17TH CENTURY
On a marble globe, above stepped giallo and variegated marble plinth
bronze 28cm high, 48.5cm high overall
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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7,000 - 10,000 GBP
A LARGE PAIR OF CARVED, POLYCHROMED AND GILTWOOD FIGURES OF GENTLEMEN
ITALIAN, CIRCA 1680
Modelled opposing, on raised bases
114cm high overall, bases 43.5 by 32.5cm
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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1,000 - 1,500 GBP
AFTER THE ANTIQUE- A BRONZE FIGURE OF A FAUN PLAYING THE FLUTE
ITALIAN, 18TH CENTURY
25.5cm high, base 8cm wide
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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3,000 - 5,000 GBP
AFTER THE ANTIQUE- A BRONZE FIGURE OF LEDA AND THE SWAN
17TH CENTURY
31cm high, base 10cm wide
This work's composition draws on an ancient Roman marble, formerly interpreted as representing Leda and the Swan , now in the Uffizi Gallery. The title is still undecided as the female figure is carrying a duck or a goose. The Roman work inspired various copies- most notably in the early 18th century by Massimiliano Soldani-Benzi (1656 - 1740). His small figure 'Leda with a swan in her hand, of bronze' is recorded in the 1730 inventory of the Düsseldorf collection.
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3,000 - 5,000 GBP
AFTER THE ANTIQUE- A BRONZE FIGURE OF HERCULES WITH THE APPLES OF THE HESPERIDES
ITALIAN, 18TH CENTURY
Depicted standing, wearing the skin of the Nemean Lion, green marble base
bronze 27.5cm high, 31.5cm high overall, base 13.5cm diameter
The composition of this work would seem to draw on Pietro da Barga's bronze figure of Hercules and Telephus, an example of which from 1574 is held in the Bargello National Museum, Florence.
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1,000 - 1,500 GBP
A BOXWOOD CORPUS GERMAN, CIRCA 1500 Later ebonised wood cross 56.5cm high overall, cross 21cm wide
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AN ITALIAN BRONZE BUST OF CHRIST
ROMAN OR FLORENTINE, 18TH/19TH CENTURY
Head tilted to his right, socle base
19cm high, 12cm wide across the shoulders
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Auction date(s): 29 Oct - 30 Oct
Lot location: Newbury, Berkshire
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15,000 - 25,000 GBP
JACQUES NICOLAS BRUNOT (1763-1826) A BRONZE MODEL OF A TROTTING HORSE EARLY 19TH CENTURY "Etalon", signed to cast base edge 'Brunot Fecit' 38cm high, base 34.8 by 13cm Provenance : The Earl of Belmore, Castle Coole, Northern Ireland. Exhibited : Possibly the Salon, Musée Napoléon, Paris, opened on 14th October 1808. Born in 1763 in Clichy-la-Garenne, little is known of Brunot's early training. He made his debut at The Salon in 1808 with a trotting horse which has been identified as possibly being this example (No. 646). Brunot, like his contemporary Stubbs, worked directly from nature studying and modelling equestrian anatomy directly from life notably at the veterinary college at Alfort. This careful detailing is exemplified in this example, the articulated veins on the horse's head, the flared nostrils and the subtly delineated muscles. The treatment of the surface also differentiates the change between textures such as the untrimmed mane crowning the elegant curve of the neck and the smooth flesh below. In 1817 he exhibited three dissection casts at the Paris Salon; "A Horse's Head Dissected", "A Horse's Legs Dissected" and "Écorché du cheval dans l'allure du trot" (No. 1056), for which he drew on the inspiration of the pose and proportions of the Cavallo Mattei. Today he is perhaps best known not only for his anatomy models and writings on the subject but also for his equestrian statue of Henri IV after Giambologna with two versions from 1814 and 1817 held in the Angers Museum of Fine Arts and the National Museum of the Château de Pau respectively. An article in the August 28 th 2024 edition of Country Life (114) titled " Take Five: Horses That Made It Into Art " celebrates his depiction of the Duke of Angoulême's La Truffe. The thoroughbred was bought in England and brought back to France after the restoration of the Monarchy. Brunot was commissioned to sculpt the horse, widely regarded as one of the most beautiful horses in France, and the work was finished in 1824, the year in which the Duke became Dauphin of France after his father, Charles X, ascended to the throne. The head in plaster is now held in Alfort. Condition Report: There are some areas of general wear to the patina, including some nicks and scratches. There are a few plugs and several original joints consistent with the casting technique casting joints as per construction , rubbing to patina of more raised areas of surface such as around head, back, limb joints and the base
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A BRONZE CORPUS AFTER MASSIMILIANO SOLDANI BENZI (1656-1740)
FLORENTINE, 18TH CENTURY
29cm high, 17cm wide
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Auction date(s): 29 Oct - 30 Oct
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15,000 - 25,000 GBP
ITALIAN SCHOOL (18TH CENTURY)
PERSEUS DELIVERING ANDROMEDA FROM THE SEA MONSTER
En grisaille
163 x 112cm (64 x 44 in.)
Provenance:
Sir John Richardson (1924-2019), New York (photographed in situ for Auction Daily, 4 August 2020)
Literature:
H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912
Finely painted in grisaille - a method of painting typically used to imitate bas-reliefs and sculpture - this elegant painting of Perseus delivering Andromeda from the sea monster represents a second century A.D. Roman bas-relief now in the Capitoline Museum in Rome.
The present scene depicts perhaps one of the best-known myths taken from Ovid's Metamorphoses. Following his victory over Medusa, the hero Perseus discovered the beautiful Andromeda chained to rocks, offered as a sacrifice to the sea monster. The hero swiftly killed the monster before freeing Andromeda from her chains. The present painting captures a moment of calm following the struggle; Andromeda, draped in drenched robes, assisted by a supportive hand from Perseus, looks to the sea monster who lies dead at the hero's feet. Both the figures of Perseus and Andromeda appear artistically posed and are reminiscent of Classical Greek sculptures; the former embodying the Praxitelean heroic nude, the latter resembling a maenad wearing billowing, diaphanous drapery.
In what would later become the Museo Capitolini, artists and Grand Tourists alike frequented the relief, sketching it from life. Artists such as the gem engraver James Tassie, sculptors Giacomo & Giovanni Zoffoli, and the ceramicist Josiah Wedgwood all produced Grand Tour artworks depicting the ancient bas-relief. The present painting is reflective of the revived interest in classical art and production of artworks based on Roman antiquities in the eighteenth and early nineteenth centuries. Sir John Richardson gave the eulogy at Andy Warhol's funeral.
Condition Report:
The canvas is lined, the paint surface is slightly dirty and the varnish is slightly discoloured and uneven. There are areas of visible retouching in the arm and chest of Andromeda, and in the rock to the right of her head, and the network of craquelure has become more distinct in the shadows surrounding her head and drapery. Inspection under ultraviolet light confirms these, and further reveals small retouchings around the margins and scattered in the background, as well as two other notable areas of retouching in Perseus' proper left thigh, 2x1cm., and to a repaired damage to the right of his hip, approx. 5cm. long. The painting is in overall good condition and presents well in its current state.
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AN ITALIAN BRONZE FIGURE OF VENUS
FLORENTINE, 17TH CENTURY
Set on agate mounted wood pedestal base
figure 19.5cm high, 32cm high overall
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A BRONZE FEMALE HEAD
ITALIAN, 18TH/19TH CENTURY
Mounted on a modern metal base
head 11.5cm high, 14cm high overall
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AFTER GIAMBOLOGNA (1529-1608) A BRONZE FIGURE OF THE FLYING MERCURY
ITALIAN, 18TH CENTURY
On Rouge Griotte marble base
bronze approximately 36cm high, 47cm high overall, base 11cm square
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AN ITALIAN ALABASTER BUST OF THE APOLLO BELVEDERE
CIRCA 1800
Socle base
61cm high overall
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AFTER THE ANTIQUE- A GILT BRONZE FIGURE OF THE BORGHESE GLADIATOR
FRENCH, 18TH CENTURY
On a gilt bronze mounted and ebonised wood base, Vitruvian scroll feet
45.5 cm high, base 36.5cm wide
Provenance :
Formerly the property of a gentleman.
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Y A RARE MONUMENTAL ROSEWOOD AND STEEL ADVERTISING FOLDING KNIFE
FOR 'TAYLOR'S EYE WITNESS CUTLERY'
The shop display scale knife with 100cm rosewood handle with copper loop and vacant escutcheon enclosing a sprung 93cm steel blade with painted logo ' TAYLORS EYE WITNESS CUTLERY '
193cm long overall
Condition Report:
λ
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ATTRIBUTED TO NICOLÒ ROCCATAGLIATA (CIRCA 1560-1629) BRONZE FIGURES OF MARS AND A FEMALE ALLEGORICAL FIGURE
17TH CENTURY
50cm and 47cm high
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AFTER THE ANTIQUE- A FRENCH BRONZE FIGURE OF THE FLORA FARNESE
19TH CENTURY
52cm high, base 15.5cm wide
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A BRONZE FIGURE OF A MAN
GERMAN, 16TH/17TH CENTURY
Set on a marble base
figure 16.5cm high, 22cm high overall:
Together with a bronze figure of the young Priapus
English, 20th century
Set on an ebonised wood column base
bronze 8.5cm high 18.5cm high overall, base 6.8cm wide
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AN ITALIAN BRONZE FIGURE OF A DANCING MAIDEN
18TH CENTURY
On a marble base
bronze 45.5cm high, 48.5cm high overall, base 10cm wide
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AN ITALIAN BRONZE GROUP OF A PAIR OF PUTTI
17TH CENTURY
Turned wooden base
bronze 8.5cm high, 13cm high overall
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AFTER THE ANTIQUE- A BRONZE FIGURE OF THE BORGHESE GLADIATOR
FRENCH, 19TH CENTURY
On a red marble base
49cm high, base 41.5cm wide
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AFTER BARTHELÉMY PRIEUR (1536-1611) A BRONZE FIGURE OF A STANDING BOY
FRENCH, 17TH CENTURY
Set on an oval ebonised wood base
bronze 19.5cm high, 25cm high overall
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ADAMO TADOLINI (1788-1868)- A WHITE MARBLE PORTRAIT BUST OF COUNT NIKOLAI DEMIDOV (1773-1828)
FLORENCE, CIRCA 1827-28
On a Bigio Morato socle base, signed "A. TADOLINI F."
40cm high overall
Provenance :
Commissioned by Nikolai Demidov (1778-1828), Count of San Donato, Florence, or by his son Anatole Demidov (1813-1870), 1st Prince of San Donato, Florence; by descent to his nephew Pavel Demidov (1839-1885), 2nd Prince of San Donato, and his second wife Princess Elena (nee Trubetskoi); by descent to their daughter Princess Maria Abamelek-Lazarev (1877-1955); and by descent to her nephew Prince Paul Karadjordjević of Yugoslavia (1893-1976) .
Sale of the contents of Villa Demidov, Sotheby's Florence, 21-24 April 1969 .
Adamo Tadolini trained under Giacomo de Maria at the Academy of Fine Arts in Bologna, where he made his name making fine versions of famous Greco-Roman sculptures. In 1814 he travelled to Rome and made such an impression on the great Venetian sculptor Antonio Canova (1757-1822) that he was invited to work in the master's studio. It is thought that he met Count Nikolai Demidov in 1823, while staying at the Palazzo Ruspoli in Rome. This bust was probably carved a few years later in around 1827.
Demidov one of the richest men in Russia in the late 18th and early 19th centuries. He and his family had made their fortune excavating minerals and mining raw materials. In 1824 he was appointed Ambassador to the court of the Grand Duke of Tuscany in Florence and bought a villa formerly owned by the Medici family in Pratolino. He embarked on projects of social improvement, building a school, a hospital and an orphanage in the nearby town of San Nicola. In gratitude for this philanthropy, the people of Florence dedicated the 'Piazza Demidov' to him.
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ATTRIBUTED TO JAMES NEALE & CO - A PAIR OF BLACK BASALT BUSTS OF HERACLITUS AND DEMOCRITUS
EARLY 19TH CENTURY
Depicting the two Greek philosophers- melancholy Heraclitus and the younger, laughing hedonist Democritus, each with impressed name of subject to reverse, scrolling bases and simulated bronze finish
taller 24.5cm high
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ATTRIBUTED TO SIR HENRY CHEERE (1703-1781)- A PAIR OF BRONZE BUSTS OF MERCURY AND VENUS
MID 18TH CENTURY
Swept bronze socles and ebonised wood bases
30 and 31cm high overall
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WORKSHOP OF GIAN FRANCESCO SUSINI (1585-C.1653)- A BRONZE FIGURE OF DIANA WITH HOUND
17TH CENTURY
On an ebonised wood base
bronze 14cm high, 20cm high overall
For a similar example of this work formerly in the Robert von Hirsch Collection- please see Christie's New York, The Cyril Humphris Collection of European Sculpture, January 11th 1995, lot 124.
Condition Report:
paler patination to edges and exposed areas from handling, age and use
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WORKSHOP OF MASSIMILIANO SOLDANI-BENZI (1656-1740) A BRONZE FIGURE OF AN ATHLETE
FLORENCE, 18TH CENTURY
Depicted holding a vase after the Antique, on a rosso di Verona and black marble base
bronze 29cm high, 35cm high overall, base 11cm wide, 8.5cm deep
In 1702 the Florentine sculptor Massimiliano Soldani-Benzi (1656-1740) had sent twelve wax bozzetti figures after the best classical and High Renaissance sculptures in the Uffizi to the Prince of Liechtenstein. These statuettes became a great success, and this figure of a nude athlete became one of the most successful of Soldani's reductions. Further casts are in the Bargello in Florence, the Bayerisches Nationalmuseum in Munich, and the Herzog Anton Ulrich Museum in Brunswick.
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LUIGI VALADIER (1726-1785), AFTER THE ANTIQUE- A BRONZE FIGURAL GROUP OF ARRIA AND PAETUS
LATE 18TH CENTURY
On gilt bronze mounted Cippolin, Breccia Africana and white marble base
bronze 36cm high, 53.5cm high overall
Provenance:
Private collection, France.
Literature
F. Haskell and N. Penny, Taste and the Antique: The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 282-284.
A. González-Palacios, Luigi Valadier: Splendor in Eighteenth-Century Rome, exh. cat., The Frick Collection, New York, 2018.
This dramatic bronze is cast after the ancient Roman marble version of the subject which was first noted in the 1623 inventory taken of the Ludovisi family collection in Rome. In the inventory it was recorded with the title " un certo mario ch'ammazza la figlia e se stesso" ('a certain Mario who is killing his daughter and himself'), Further suggestions as to its likely subject matter included " Pyramus and Thisbe " in the French painter François Perrier's 1638 anthology of the most admired statues in Rome ( Segmenta nobilium signorum et statuarum [...]. Rome, pl. XXXII). By 1670 the current title was suggested by the Italian art historian E. Q. Visconti, who connected it with the Dying Gaul in the Capitoline Museums and suggested that the statues once adorned a monument erected in Rome to commemorate defeat of the Gauls by Julius Caesar or of the Germans by Germanicus.
By the latter part of the 17 th century, it was held in high esteem and reproduced in engravings by Perrier and Audran with marble copies including a version in 1684 by François Lespingola for Louis XIV (now at Versailles, inv. MR 2035). By the 18 th century copies of the group were much in demand from the wealthier and cultured travellers on the Grand Tour in Rome. The pre-eminent Roman silversmith and bronze founder Luigi Valadier (1726-1785) specialised in producing well cast, highly detailed and finely chased examples such as this to accommodate the visitors' requirements. His workshop produced many bronze reductions of famous classical statues, on both a large and small scale, which closely compare to the present bronze.
The connection to the Valadier workshop is further confirmed by the Registro Generale of 1810, an inventory which documents the contents of the workshop when it belonged to Giuseppe, in which we find listed the model of the present bronze: ' Gruppo di Aria e Peto ('Arria and Paetus group', in unspecified material) 3.50 scudi' (González-Palacios 2018, pp. 479). The original Roman marble version was held in the Ludovisi collection until 1901 when it was purchased by the Italian government and installed in the Museo Nazionale, Rome.
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A CARVED BOXWOOD GROUP OF CAVORTING PUTTI FLEMISH, 18TH CENTURY 15.5cm high, base 12cm wide
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A BRONZE FIGURE OF ATALANTA
FRENCH, 17TH CENTURY
On oval ebonised wood base
figure 42.5cm high, 46cm high overall base 24.5cm wide
Provenance :
Charles C. Dent (1917-1994), Collection, Allentown, Pennsylvania, USA.
Condition Report:
Paler patination to exposed areas and margins from handling, age and use notably to her hair, face details, finger ends- some darker scattered residue spots, firing plug to left knee with faint radiating hairline and some surface blemishing
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ATTRIBUTED TO BARTOLOMEO CAVACEPPI (1716-1799)- A TERRACOTTA BUST OF A SON OF LAOCOÖN
LATE 18TH CENTURY
On ebonised socle
bust 41cm high, 57cm high overall
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A ROMAN MARBLE PORTRAIT OF A MAN
JULIO-CLAUDIAN PERIOD, CIRCA 1ST CENTURY B.C./A.D.
Set on modern metal support
bust 27cm high, 31.5cm high overall
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AFTER THE ANTIQUE- A LARGE AND RARE WHITE MARBLE FIGURAL GROUP OF CUPID AND PSYCHE
ROMAN, 18TH CENTURY
On a Breccia Africana and white marble column, the column being ancient Roman
group 136cm high, 232cm high overall
This intimate marble group of Cupid and Psyche embracing is after the Roman model excavated on the Aventine Hill in 1749, and which was gifted by Pope Benedict XIV to the Capitoline Museum in the following year. Its subject has traditionally been identified as Cupid and Psyche , a theme that had long been familiar to artists and antiquarians from ancient reliefs, sarcophagi, intaglios, and free-standing statues, such as the one discovered at Santo Stefano Rotondo in 1666, in the possession of the Medici Grand Dukes since the late 17 th century.
As Haskell and Penny note in Taste and the Antique , it was the Capitoline statue's "sentiment that most appealed to both travellers and scholars - 'the first burst of youthful loveliness', the 'innocent fondness', the 'virginal' and ingenuous gesture of Psyche" (p. 190). The story of the young lovers, which originates in the 2 nd century A.D. novel Metamorphoses by Apuleius, tells of how Venus' divine son Cupid fell in love with the mortal princess Psyche, and the obstacles she had to overcome to be reunited with him.
In the 18 th century, the composition was popularised by small scale reproductions in bronze, such as those by the Zoffoli workshop in Rome, and other media, such as Wedgwood intaglio and Sèvres porcelain. The present marble, which matches in material and size the Capitoline original and stands on a beautifully striated marble column, speaks of a more ambitious commission, either from an Italian patron or a Grand Tourist, intended for a stately palazzo or townhouse, or a grand country residence.
Literature :
F. Haskell and N. Penny, Taste and the Antique, the Lure of Classical Sculpture, 1500-1900, London, 1981, pp. 189-191.
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A RARE BIGIO MORATO AND ALABASTER BUST OF A WOMAN
ROMAN, 17TH CENTURY
Black marble socle
70cm high
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A BRONZE FIGURE OF THE FLYING MERCURY
EARLY 20TH CENTURY
Of flattened form, tapering circular base
30.5cm high, base 12cm diameter
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AN ITALIAN BRONZE FIGURE OF MARY MAGDALENE
17TH CENTURY
With gilt detailing to robe hems, carved wood base
bronze 17.5cm high, 19.5cm high overall
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Auction date(s): 29 Oct - 30 Oct
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