Description

After a model by Giambologna (1529-1608), Italy, late 18th century Mars Bronze figure Resting on a rectangular marble base; the reverse bears two paper labels, one of which reads 'Coleccion Rafaël A. Bullrich, N°2384'; casting defects. H.: 37 cm (14 ½ in.) Total H.: 48 cm (18 ¾ in.) Comparative bibliography: C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, pp.137, 261, no. 69. A bronze figure of Mars, after a model by Giambologna (1529-1608), Italian, late 18th century This depiction of Mars, also known as the Gladiator, has been one of Giambologna's most popular models since its creation. The prototype is thought to date from the early 1570's. Indeed, one of the earliest reproductions of the model after Giambologna is the Mars in the Bargello, attributed to Pietro Da Barga (1574-1588). The present bronze follows in the Renaissance tradition of bronze replicas of highly esteemed statuettes.

Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.

251 
Go to lot
<
>

After a model by Giambologna (1529-1608), Italy, late 18th century Mars Bronze figure Resting on a rectangular marble base; the reverse bears two paper labels, one of which reads 'Coleccion Rafaël A. Bullrich, N°2384'; casting defects. H.: 37 cm (14 ½ in.) Total H.: 48 cm (18 ¾ in.) Comparative bibliography: C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, pp.137, 261, no. 69. A bronze figure of Mars, after a model by Giambologna (1529-1608), Italian, late 18th century This depiction of Mars, also known as the Gladiator, has been one of Giambologna's most popular models since its creation. The prototype is thought to date from the early 1570's. Indeed, one of the earliest reproductions of the model after Giambologna is the Mars in the Bargello, attributed to Pietro Da Barga (1574-1588). The present bronze follows in the Renaissance tradition of bronze replicas of highly esteemed statuettes.

For sale on Wednesday 10 Jul : 14:00 (CEST)
paris, France
Artcurial
+33142992020

Exhibition of lots
jeudi 04 juillet - 11:00/18:00, Artcurial, Paris
vendredi 05 juillet - 11:00/18:00, Artcurial, Paris
samedi 06 juillet - 11:00/18:00, Artcurial, Paris
lundi 08 juillet - 11:00/18:00, Artcurial, Paris
mardi 09 juillet - 11:00/16:00, Artcurial, Paris
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

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.