Dreweatts 1759 | Tomasso

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A CINNABAR LACQUER OPIUM TABLE, CHINESE, 18TH/19TH CENTURY

302

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A CARVED WOOD RELIEF PANEL DEPICTING SAINTS GREGORY AND MATTHEW, SPANISH, 16TH CENTURY

303

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1,500 - 2,500 GBP

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AN ITALIAN BRONZE BUST OF CHRIST, ROMAN OR FLORENTINE, 18TH/19TH CENTURY

304

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800 - 1,200 GBP

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A RED LAQUERED AND IVORINE CHEST CHESTER JONES, MODERN

305

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500 GBP

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500 - 800 GBP

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Auction date(s): 29 Oct - 30 Oct

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GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666), YOUNG DAVID

306

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GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the ' testa di un davide ' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649. 1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified. In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra , now in a private collection, which Panesi ordered from Guercino only a few months later. 2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident. 3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge. In the following year, Guercino painted a ' Meza Figura del davide con la Testa di Golia Gigante ' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650. 4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection. 5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi , for a picture just over half the size of Fermi's, painted in the previous year. With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture. Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword. 7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli. 8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas. Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling. Notes: 1). B. Ghelﬁ (ed.), Il libro dei conti del Guercino, 1629-1666 , Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné , Rome, 2017, p. 662, cat 372 3). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings , xlvii, no 4 (2009), pp. 516-9. 4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm. 7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe , Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry.

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

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JACQUES NICOLAS BRUNOT (1763-1826), A BRONZE MODEL OF A TROTTING HORSE, EARLY 19TH CENTURY

307

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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 Condition Report Disclaimer

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Auction date(s): 29 Oct - 30 Oct

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NORTHERN EUROPEAN SCHOOL (17TH CENTURY), PORTRAIT OF NEPTUNE

308

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A GILT BRONZE STANDING FIGURE OF GUANYIN, JAPANESE, 17TH/18TH CENTURY

309

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A ZITAN WOOD SIDE TABLE, CHINESE, 19TH/20TH CENTURY

310

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1,200 GBP

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1,500 - 2,000 GBP

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A BRONZE CORPUS AFTER MASSIMILIANO SOLDANI BENZI (1656-1740), FLORENTINE, 18TH CENTURY

311

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500 GBP

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500 - 800 GBP

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AN IMARI PORCELAIN BOWL WITH CARP DECORATION, JAPANESE, 18TH/19TH CENTURY

312

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500 GBP

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500 - 800 GBP

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A HARDWOOD LOW ALTAR TABLE, CHINESE, 18TH/19TH CENTURY

313

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700 GBP

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700 - 1,000 GBP

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A GILT BRONZE CRISTO MORTO, FLORENTINE, 17TH CENTURY

314

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ATTRIBUTED TO OMERSA FOR LIBERTY- A LEATHER CAMEL, 20TH CENTURY

315

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600 GBP

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600 - 800 GBP

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A CARVED AND STAINED HARDWOOD SOFA, COROMANDEL COAST, LATE 17TH CENTURY

316

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ITALIAN SCHOOL (18TH CENTURY), ENDYMION SLEEPING WITH HIS DOG BESIDE HIM

317

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ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014) Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty. This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief. Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision. This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition. Condition Report Disclaimer

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ITALIAN SCHOOL (18TH CENTURY), PERSEUS DELIVERING ANDROMEDA FROM THE SEA MONSTER

318

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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. Condition Report Disclaimer

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AN ITALIAN BRONZE FIGURE OF VENUS, FLORENTINE, 17TH CENTURY

319

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6,000 GBP

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6,000 - 8,000 GBP

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320

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800 GBP

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800 - 1,200 GBP

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A FIJIAN ROOTSTOCK CLUB, VUNIKAU, 19TH CENTURY

321

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A CHINESE GILT BRONZE SEATED FIGURE OF AMITAYUS, QIANLONG PERIOD

322

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4,000 GBP

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4,000 - 6,000 GBP

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ATTRIBUTED TO OMERSA FOR LIBERTY- A LEATHER HIPPOPOTAMUS

323

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400 GBP

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400 - 600 GBP

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AFTER GIAMBOLOGNA (1529-1608)- A BRONZE FIGURE OF THE FLYING MERCURY

324

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2,000 GBP

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2,000 - 3,000 GBP

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AN ITALIAN ALABASTER BUST OF THE APOLLO BELVEDERE, CIRCA 1800

325

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2,000 GBP

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2,000 - 4,000 GBP

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AFTER THE ANTIQUE- A GILT BRONZE FIGURE OF THE BORGHESE GLADIATOR, 18TH CENTURY

326

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5,000 GBP

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5,000 - 8,000 GBP

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PIERRE SUBLEYRAS (FRENCH 1699-1749), STUDY OF SAINT JEROME

327

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10,000 GBP

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10,000 - 15,000 GBP

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A LOUIS VUITTON 'STRATOS' SUITCASE, MID 20TH CENTURY

328

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500 GBP

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500 - 800 GBP

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Y A RARE MONUMENTAL ROSEWOOD AND STEEL ADVERTISING FOLDING KNIFE FOR 'TAYLOR'S EYE WITNESS CUTLERY'

329

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1,500 GBP

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1,500 - 2,000 GBP

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A SATINWOOD COLLECTOR'S CABINET, ANGLO-INDIAN OR SRI LANKA, MID-19TH CENTURY

330

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2,000 GBP

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2,000 - 3,000 GBP

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ATTRIBUTED TO NICOLÒ ROCCATAGLIATA (CIRCA 1560-1629), BRONZE FIGURES OF MARS & A FEMALE FIGURE

331

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10,000 GBP

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A PORPHYRITIC STONE PEDESTAL, ITALIAN, 19TH CENTURY

332

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800 GBP

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800 - 1,200 GBP

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AFTER THE ANTIQUE- A FRENCH BRONZE FIGURE OF THE FLORA FARNESE, 19TH CENTURY

333

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Auction date(s): 29 Oct - 30 Oct

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A BRONZE FIGURE OF A MAN, GERMAN, 16TH/17TH CENTURY

335

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500 GBP

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500 - 800 GBP

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AN ITALIAN BRONZE FIGURE OF A DANCING MAIDEN, 18TH CENTURY

336

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1,000 - 1,500 GBP

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AN MARBLE AND PORPHYRY PEDESTAL, ITALIAN, 19TH CENTURY

337

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800 GBP

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800 - 1,200 GBP

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AN ITALIAN BRONZE GROUP OF A PAIR OF PUTTI, 17TH CENTURY

338

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500 - 800 GBP

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AFTER THE ANTIQUE- A BRONZE FIGURE OF THE BORGHESE GLADIATOR, FRENCH, 19TH CENTURY

339

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2,000 - 4,000 GBP

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AFTER BARTHELÉMY PRIEUR (1536-1611), A BRONZE FIGURE OF A STANDING BOY, 17TH CENTURY

340

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2,000 - 3,000 GBP

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ADAMO TADOLINI (1788-1868)- A WHITE MARBLE PORTRAIT BUST OF COUNT NIKOLAI DEMIDOV (1773-1828)

341

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5,000 GBP

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5,000 - 8,000 GBP

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A NEOCLASSICAL GILTWOOD SIDE TABLE, ITALIAN, CIRCA 1800

342

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10,000 GBP

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10,000 - 15,000 GBP

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ATTRIBUTED TO JAMES NEALE & CO - A PAIR OF BLACK BASALT BUSTS OF HERACLITUS AND DEMOCRITUS

343

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800 GBP

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800 - 1,200 GBP

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Auction date(s): 29 Oct - 30 Oct

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AN ITALIAN BRONZE AND SILVER FIGURE OF EROS WITH BRÛLE PARFUM, 18TH CENTURY

344

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1,500 GBP

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1,500 - 2,500 GBP

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A CARVED WALNUT PEDESTAL IN THE RENAISSANCE STYLE, 19TH CENTURY

345

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200 GBP

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200 - 300 GBP

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Auction date(s): 29 Oct - 30 Oct

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ATTRIBUTED TO SIR HENRY CHEERE (1703-1781)- A PAIR OF BRONZE BUSTS OF MERCURY AND VENUS

346

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3,000 GBP

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3,000 - 5,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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WORKSHOP OF GIAN FRANCESCO SUSINI (1585-C.1653)- A BRONZE FIGURE OF DIANA WITH HOUND

347

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1

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1,500 GBP

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1,500 - 2,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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A TRAVERTINE PEDESTAL, ITALIAN, 20TH CENTURY

348

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1

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300 GBP

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300 - 500 GBP

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Auction date(s): 29 Oct - 30 Oct

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WORKSHOP OF MASSIMILIANO SOLDANI-BENZI (1656-1740), A BRONZE FIGURE OF AN ATHLETE

349

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1

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3,000 GBP

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3,000 - 5,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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LUIGI VALADIER (1726-1785), AFTER THE ANTIQUE- A BRONZE FIGURAL GROUP OF ARRIA AND PAETUS

350

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7,000 GBP

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7,000 - 10,000 GBP

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

351

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1

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700 GBP

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700 - 1,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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A BRONZE FIGURE OF ATALANTA, FRENCH, 17TH CENTURY

352

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1

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4,000 GBP

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4,000 - 6,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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ATTRIBUTED TO BARTOLOMEO CAVACEPPI (1716-1799)- A TERRACOTTA BUST OF A SON OF LAOCOÖN

353

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4,000 GBP

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4,000 - 6,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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A WHITE MARBLE HEAD OF THE YOUNG AUGUSTUS, ITALIAN, 18TH CENTURY

354

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2,000 GBP

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2,000 - 4,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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A STONE FIGURE OF A STANDING GODDESS, CAMBODIA, 11TH/12TH CENTURY

355

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1

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5,000 GBP

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5,000 - 8,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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A ROMAN MARBLE PORTRAIT OF A MAN, JULIO-CLAUDIAN PERIOD

356

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5,000 GBP

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5,000 - 8,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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PIERRE-PAUL PRUD'HON (FRENCH 1758-1823), APOLLO AND THE MUSES ON MOUNT PARNASSUS

357

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15,000 GBP

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15,000 - 25,000 GBP

PIERRE-PAUL PRUD'HON (FRENCH 1758-1823) APOLLO AND THE MUSES ON MOUNT PARNASSUS Oil on canvas 54.5 x 64cm (21¼ x 25 in.) Provenance: Albert Joliet, Dijon Baron d'Olonne, Paris; Matthiesen, Ltd., London, by 1956 Paul Drey Gallery, New York Sale, Sotheby's, New York, 22 May 1986, lot 2 Dr. Claus Virch Collection, New York Exhibited: Paris, Palais des Beaux-Arts, Petite Palais, Pierre Paul Proud'hon , 1922, p. 4, no.9 Literature: Jean Guiffrey: L'oeuvre de Pierre-Paul Prud'hon, in Archives de L'Art Francias . vol. XIII, Paris, 1924 p. 36-38 for a discussion of the drawings related to this picture and the other version now in Dijon; Advertisement supplement, The Burlington Magazine , vol. 98, no. 639, June 1956, reproduced plate VI Prud'hon's talent manifested itself early. As a young boy he was taken under the wing of Devosge, director of the drawing school in Dijon, who recommended him to his first major patron, the baron de Joursanvault. As early as 1780 we can see the young artist applying his delight in allegory and the classical world in his "Apotheosis of Baron Joursanvault" (Dijon, musee des beaux-arts). Joursanvault sponsored Prud'hon's move to Paris and he spent 3 years (1780-83) visiting galleries and churches and enrolling in the Academie Royale although we know from his letters that he much preferred to work alone at home. From 1783-4 he returned to Dijon in order to compete for the Prix de Rome, which he duly won. Rome was to prove pivotal to his development and subsequent success. Between 1784 and 1788 he was able to immerse himself in the art of the Eternal city and indeed to make important contacts, most notably with Canova. In Rome he was to prove assiduous in his study of the Renaissance masters and his overriding admiration of Leonardo is clearly expressed in his correspondence, although his contemporaries were to dub him France's Correggio. This period was certainly to influence the way he viewed allegory and mythology and its lasting effect can be seen throughout his work in the years to come. After his return from Rome his reputation gradually increased despite the political upheavals that were erupting in France. He was much admired as a portraitist, gaining patrons and consequently expanding his oeuvre. Always aspiring to be a history painter, he provided designs for what has been termed the golden age of book illustration, and although relatively unknown he was sought out by the publisher Pierre Didot expressly for this purpose. Finally, during the Empire of Napoleon, Prudh'on would find the greatest favour of all from the Imperial court itself. This was the period of his grand portraits such as "Empress Josephine at Malmaison" and "Charles Maurice de Talleyrand-Perigourd" as well as large scale mythological paintings such as "Psyche carried off by the Zephyrs". He had previously shown a sure eye for decoration in a number of projects but he was now able to create independent works on a large scale. His position was sealed in 1810 when he was appointed drawing master to the new Empress, Marie Louise. The restoration of the Bourbon monarchy did not mark a fall from favour, and indeed Prud'hon was called upon to help create the official representation of the restored monarchy. He produced even more portraits, and at the very end of his life he was commissioned by the state to produce what has become one of his most famous works, "Christ on the Cross" for the cathedral at Strasbourg (Paris, Musee du Louvre). Apollo and the Muses on Mount Parnassus would certainly have appealed to Prud'hon as a subject. In essence the scene encompasses the ideals of classical learning through word and music and as such it became symbolic during the Renaissance of the re birth of knowledge. Prud'hon would have seen many Renaissance interpretations of this, from Raphael in Rome to Mantegna in Paris. The present sketch is remarkable in the vivacity of the figures, the bold under drawing being clear in many passages. Drawings of individual groups of figures for this composition exist in a private collection and were illustrated in Guiffrey's 1924 monograph. Indeed these drawings were then copied by Boilly (1) and were subsequently published as lithographs (2). In terms of Prud'hon's oeuvre, the present work is reminiscent of a number of allegorical and decorative schemes he produced in the period following his return from Rome. The decoration of the Hotel de Lannoy is the most famous of these schemes and was intended as a full cycle representing in essence the liberal arts through classical models. This work was followed by a period in which he expressed the aims and ambitions of the revolution in a series of allegories deeply rooted in the classical past. Dr Christoph Vogtherr, on examining the picture, has proposed that it could be a modello for a theatre curtain. Set designs were certainly produced by major artists and during the Napoleonic period such spectacles were as expected as the lavish court ceremonies that were staged throughout the reign. There is a 19 th century copy of the work in the Musee des Beaux Arts in Dijon, at one time attributed to Prud'hon it was already viewed as a copy in the early years of the last century. 1) J ulien-Leopold Boilly, Terpsichore and Erato , drawing, black and white pencil on paper, Paris, Louvre, inv. no. RF 4637 2) Julien-Leopold Boilly, Apollo and the Muses , lithograph, Washington, National Gallery of Art, inv. no. 2011.139.54 Condition Report: The canvas has been relined, and presents surface dirt and craquelure. Scattered retouching throughout. Rubbing and abrasions to the edges. The paint layer to the trees is starting to wear thin. Condition Report Disclaimer

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Auction date(s): 29 Oct - 30 Oct

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A FLORENTINE PIETRA DURA PLAQUE OF A LANDSCAPE WITH FIGURES, 18TH CENTURY

358

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8,000 GBP

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8,000 - 12,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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AFTER THE ANTIQUE- A LARGE AND RARE MARBLE FIGURAL GROUP OF CUPID AND PSYCHE

359

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30,000 GBP

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30,000 - 50,000 GBP

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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AFTER THE ANTIQUE- A WHITE AND POLYCHROME MARBLE BUST OF FAUSTINA THE ELDER

360

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1

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7,000 GBP

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7,000 - 10,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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A RARE BIGIO MORATO AND ALABASTER BUST OF A WOMAN, ROMAN, 17TH CENTURY

361

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20,000 GBP

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20,000 - 30,000 GBP

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Auction date(s): 29 Oct - 30 Oct

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AFTER GIAMBOLOGNA (1529-1608)- A GILT BRONZE DIAVOLINO FIGURE, 19TH CENTURY

362

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200 GBP

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200 - 300 GBP

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Auction date(s): 29 Oct - 30 Oct

Lot location: Newbury, Berkshire

Auction currency	GBP
Buyer's premium	26 % (exc. VAT)
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