49 - Attributed to GUILLAUME BERTHELOT (France, ca. 1580–Paris, 1648).

Attributed to GUILLAUME BERTHELOT (France, ca. 1580–Paris, 1648). “Wild Boar.” First half of the 17th century. Patinated bronze. Accompanied by a historical-artistic study by Ms. Rosario Coppel Aréizaga, Ph.D. in Art History and specialist in European Renaissance sculpture, author of important research on small Italian bronzes, including *Italian Renaissance Bronzes in the National Archaeological Museum*. Measurements: 19 x 24 x 8 cm. This sculpture, attributed to Guillaume Berthelot by Rosario Coppel, is an interesting example of the production of small animal-themed bronzes that flourished in the Franco-Italian artistic milieu during the early decades of the 17th century. Its particular significance lies in the specialist’s research, which links the piece to a specific model preserved at the Castello Sforzesco in Milan, providing evidence to situate it within the creative milieu of one of the French sculptors who participated in the renewal of European sculpture under the influence of Roman classicism. The depiction of the wild boar held a significant place in Renaissance and Baroque sculpture, especially following the revival of classical models. Among its precursors, the famous marble wild boar housed in the Uffizi in Florence stands out; its artistic legacy gave rise to numerous subsequent interpretations. Sculptors such as Giambologna, Antonio Susini, and Pietro Tacca incorporated this animal into their repertoires, developing compositions that combined naturalistic observation with a dynamic conception of the figure. The spread of these models helped consolidate the prestige of small bronzes as objects particularly prized by European collectors. The main argument for attribution put forward by Rosario Coppel is the relationship between this sculpture and the wild boar that appears in the bronze group known as Reason in Her Chariot, part of the Stipo Passalacqua, created in 1613 and housed in the Castello Sforzesco in Milan. This extraordinary cabinet piece, conceived as a complex allegorical program dedicated to the five senses and the dominance of reason over the passions, constitutes one of the most significant examples of Italian art collecting in the early Seicento. Guillaume Berthelot contributed to its creation by carving the allegorical ivory figures representing the senses. The specialist highlights the similarities between the wild boar in the Milanese ensemble and the specimen presented here, particularly in the elevated position of the head, the opening of the jaws, and the shape of the tusks and ears. She also points out similarities in the depiction of the fur, rendered with relatively thick tufts and pronounced movement, differing from the more meticulous treatment characteristic of other known versions. These similarities allow both sculptures to be linked to a common artistic language and form the basis for the proposed attribution to Berthelot. The composition also stands out for its depiction of the animal in full motion, departing from the models of resting wild boars derived directly from classical sculpture. This dynamic conception is particularly well-suited to the style of cabinet bronzes, in which movement, expressiveness, and the richness of the surfaces helped to give small-scale pieces a remarkable sculptural presence. The base, conceived as a fragment of landscape and integrated into the casting itself, reinforces the composition’s autonomous character. Guillaume Berthelot was a French sculptor whose career was closely linked to the major artistic circles of Rome and Paris during the first half of the 17th century. His stay in Rome, documented between 1610 and 1618, allowed him to study ancient sculptures firsthand and work on major commissions linked to the pontificate of Paul V Borghese. During these years, he participated in sculptural projects and restoration work, coming into contact with artists such as Pietro Bernini, Nicolas Cordier, and Camillo Mariani. His time in Rome proved decisive in the development of a style that combined the study of classical sculpture with the new naturalistic approaches of the Baroque. After his return to France, he entered the service of Marie de’ Medici and was appointed sculptor to the queen mother in 1620. Among his commissions, the works for the Luxembourg Palace and other important projects linked to the French court stand out. His career reflects the role played by French sculptors trained in Italy in transmitting classical models and in the renewal of 17th-century French sculpture. It contains a report by Ms. Rosario Coppel.