9 - ITALIAN SCHOOL, possibly Venetian. 16th–17th centuries.

ITALIAN SCHOOL, possibly Venetian. 16th–17th centuries. “Allegories of Fishing and Hunting.” Pair of gilded bronze sculptures. Bases reinforced with lead. On ebonized wooden pedestals. Measurements: 37.5 x 22 x 10 cm (sculptures); 36 x 20 x 12 cm (plinths). This pair of bronzes belongs to the tradition of Italian sculpture that developed between the late Renaissance and the early Baroque, an artistic period in which allegorical representations played a particularly prominent role in the decorative programs of palaces and aristocratic residences. Their conception as a set, their iconographic complementarity, and the richness of their execution reflect the taste for classically inspired compositions that characterized Italian ornamental arts of this period. The sculptures depict two semi-nude male figures with idealized physiques and elegantly contrasting poses. One of them, with a mature appearance, curly hair, and a beard, holds a large fish, while the other, with a youthful appearance and crowned with laurel leaves, gathers two game birds—possibly ducks—on a large cloth. These attributes allow the group to be interpreted as an allegorical representation of fishing and hunting, activities traditionally linked to abundance, prosperity, and the use of natural resources. The contrast between the aquatic animals and the birds also suggests a possible association with the elements of water and air, although a definitive iconographic identification cannot be established without knowing the original decorative program to which they may have belonged. From a stylistic perspective, both figures display characteristics linked to the Italian sculptural tradition of the late 16th and early 17th centuries. The treatment of the bodies, articulated through subtle shifts in weight and twists of the torsos, reveals the persistence of classical models reinterpreted through Mannerism. Particularly striking hallmark is the contrast between the polished surfaces of the figures’ bodies and the meticulous rendering of the hair, beards, plumage, and drapery, whose folds create an elaborate interplay of light and shadow. The gilding accentuates the ornamental richness of the compositions and reinforces their sumptuous character. The possible connection to the Venetian school is of interest due to the significant tradition of bronze casting developed in the city during the Renaissance and its continuation into the 17th century. Artists such as Alessandro Vittoria (1525–1608) and Tiziano Aspetti (1565–1606) helped to consolidate a sculptural language characterized by elegant proportions, gestural expressiveness, and a wealth of detail, which exerted a notable influence on subsequent ornamental production. These sculptures are part of this general stylistic context. The arrangement of the figures on small pedestals embellished with plant motifs, together with the complementary nature of their attributes, suggests that they may have been part of a broader decorative program. In 16th- and 17th-century Italy, allegorical bronze figures could be integrated into architectural elements, sumptuous furniture, and ornamental ensembles intended for ceremonial interiors. Their original function remains unclear, but the fact that they were conceived as a pair is one of the most significant aspects of the set.