Null After John of Bologna known as Giambologna (1529-1608), circa 1880

Abducti…

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After John of Bologna known as Giambologna (1529-1608), circa 1880 Abduction of the Sabine women Bronze with brown patina Black marble base Height : 45 cm

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After John of Bologna known as Giambologna (1529-1608), circa 1880 Abduction of the Sabine women Bronze with brown patina Black marble base Height : 45 cm

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Estim. 1 500 - 2 000 EUR

AFTER GIAMBOLOGNA (1529-1608): A PAIR OF LATE 19TH CENTURY BRONZE FIGURES OF MERCURY AND FORTUNA each raised on a bronze, relief cast, cylindrical plinth with black marble base, dark brown patination, 85cm and 74cm high (2) Use this link for a bespoke instant shipping estimate to your location: https://app.thepackengers.com/en/product_widgets/Z1JnG2ES5A/destination/new

Estim. 3 000 - 5 000 EUR

LOPEZ Gasparo dit des fleurs (1650-1732) Attributed to. Floral composition in a vase. Oil on canvas, canvas-backed, 100 x 70 cm. Certificate with stamp of the Civil Court of Bologna.

Estim. 6 000 - 6 500 EUR

Attributed to GIACOMO and GIONANNI ZOFFOLI (Rome, 18th century). From an original of "GIAMBOLOGNA", JEAN DE BOLOGNE (Douai, Flanders, 1529 - Florence, 1608). "Mercury", ca. 1800. Sculpture in bronze. Eyes in silver. Serpentine marble base. Measurements: 115 x 27 cm. The foundry workshop of the Zoffoli was one of the most famous and prolific in Rome during the eighteenth century. The work is modeled after the original sculpture by the Flemish-born artist Jean de Bologne, better known by the Italianized form of his name, "Giambologna", now in the Bargello Museum in Florence. The piece, originally made in 1567, presents the classical divinity Mercury (Roman version of the Greek Hermes), the messenger of the gods. The artist has sought to translate the lightness and speed of the character through a posture of great audacity. The god defies the laws of gravity by leaning only on the tips of his toes, which barely touch the base of the sculpture, which consists of a male head exhaling a breath of air. This is the personification of the south wind, a figure also deified in classical mythology and Mercury's ally in the propagation of news, good and bad. Despite this reduced base, the artist managed to create a very balanced piece, where the gestures of the arms and legs are perfectly balanced to allow the bronze to support itself without the need for added elements. Thus, the right arm rises towards the sky in an expressive gesture, while the left arm moves back and balances it, holding the herald's emblematic rod. With this work, full of movement, grace and delicacy, where the artist also admirably works the nude, some of the most outstanding contributions of the classical Italian Renaissance are summarized: the recovery of Antiquity, both in the themes and forms, the monumental free-standing sculpture or the nude, male and female. On the other hand, the search for movement, dynamism, even the instability of the figure, prelude some aspects of Mannerism and Baroque trends of the late sixteenth and seventeenth centuries.

Estim. 15 000 - 18 000 EUR

Italian school; first half of the seventeenth century. "Expiring Christ". Silver plated bronze. Measurements: 29 x 28 x 5 cm; 38 cm (base). The Crucifix, of great executive quality, is part of the group of bronzes of this type of the Giambolo-Gnesco circle, datable between the late sixteenth and early seventeenth century. The work proposed here presents similarities with well-known examples such as: two crucifixes in the Convent of the Santissima Annunziata, Florence; the one in the Smith College Museum of Art, Northampton; another in a private collection, Siena (reproduced in P. Torriti, fig. 77); another in a private collection, Siena (reproduced in P. Torriti, fig. 77); and another in the Smith College Museum of Art, Northampton. Torriti, fig. 77); three other examples in private collections (Exhibition catalog: "Giambologna 1529-1608", 1978, nos. 99, 100, 101); also the hybrid variant of the "semi-living Christ" in the Municipal Museum of Douai. Because of the linearity of the folds of the loincloth, it is revealed as a work of the generation after Giambologna, who preferred flat fabric surfaces. It is distinguished from the examples cited above by its vigorous anatomical articulation and the refined and detailed execution of the features of the beautiful face and hair. While in the examples we have mentioned Christ turns his head upwards and to the right, the Christ we are examining is the only example in which the head is reclined to the left. head is reclined to the left, in accordance with the graphic archetype from which the living Christ of Giambologna's sculpture derives, that is, the Crucifix designed by Michelangelo for Vittoria Colonna around 1540 (London, British Museum, inv. 1895-9-15-504r). Cf. Giambologna 1529- 1608. Sculptor to the Medici, exhibition catalog Edinburgh, London, Vienna, edited by C. Avery, A. Radcliffe, London 1978, nos. 98-104, pp.140-142. (K.J. Watson); P. Torriti, Pietro Tacca da Carrara, Genoa, 1984; M. Tommasi, Pietro Tacca, Pisa, 1995; E. D. Schmidt, Scultura sacra nella Toscana del Cinquecento, in Storia delle arti in Toscana: il Cinquecento, edited by R. P. Ciardi, Florence, 2000, pp. 231-254, in particular p.248 with note 83. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the fourth century. It is one of the most recurring themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head bowed, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth.

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