- 65
Workshop of Alessandro Vittoria (1525-1608) Italian, Venice, 1613
Estimate
40,000 - 60,000 GBP
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Description
- Moses
- dated: MDCXIII
- Istrian stone, with an integral Istrian stone base
- Workshop of Alessandro Vittoria (1525-1608) Italian, Venice, 1613
Provenance
Jean-Baptiste Wicar (1762-1843), Lille,
and thence by descent,
private collection, France
and thence by descent,
private collection, France
Condition
Overall the condition of the marble is good. There is wear, dirt and some weahering to the surface consistent with age. There are a few chips, particularly to the drapery fold that runs down to the proper right foot, the drapery near the proper right elbow, the back of the base and the tip of the nose. Part of the index finger on the proper left hand was restored.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The stance, treatment of the drapery and physiognomy of this fine marble can be compared with the work of Alessandro Vittoria. Note in particular the figure of St. John the Baptist in the church of San Zaccaria, Venice as well as two figures of St. Jerome, one in the S.Maria dei Farri, the other in the church of St. John and St. Paul.
Although Vittoria died in 1608 it is possible that the inscribed date MDCXIII (1613) relates to when the figure was erected in the church for which it was commissioned. However, it has also been noted that there are strong similarities between this figure of Moses and documented works by Giulio dell' Angelo del Moro (1555-1616) who was connected with Vittoria's workshop in the 1570's. Compare the signed figures of St. Lawrence and Jerome on the Friuli monument in the church of S. Salvator in Venice dating from circa 1578-1582.
The present lot was brought back to France by the painter Jean-Baptiste Wicar. He was sent to Rome in 1796 by Napoleon as part of the "Commission des Sciences et des Arts" to requisition works of art and science for the Musée Central des Arts in Paris. In 1806 he was made director of the Naples Academy and in 1809 he settled in Rome until his death in 1834. His collection of paintings was sold at auction after his death and his collection of drawings was left to the city of Lille where it represents the core of the new Musée des Beaux Arts; this figure of Moses stayed with the family .
RELATED LITERATURE
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 441, 457, 458, 461, 466, 472 and 504, figs. 457, 477, 479, 482, 487, 495-6 and 541; J. Pope-Hennessy, Italian High Renaissance and Baroque Sculpture, London, 1963, pp. 78-85, pls. 128-9, 131; L.F. Ghersi, Alessandro Vittoria, Udine, 1998, pl. 3; Jean Baptiste Wicar (1762-1834) et son temps, Lille, 2004; G. Lorenzetti, Venezia e il suo estuario, Rome, 1956, p.389
Although Vittoria died in 1608 it is possible that the inscribed date MDCXIII (1613) relates to when the figure was erected in the church for which it was commissioned. However, it has also been noted that there are strong similarities between this figure of Moses and documented works by Giulio dell' Angelo del Moro (1555-1616) who was connected with Vittoria's workshop in the 1570's. Compare the signed figures of St. Lawrence and Jerome on the Friuli monument in the church of S. Salvator in Venice dating from circa 1578-1582.
The present lot was brought back to France by the painter Jean-Baptiste Wicar. He was sent to Rome in 1796 by Napoleon as part of the "Commission des Sciences et des Arts" to requisition works of art and science for the Musée Central des Arts in Paris. In 1806 he was made director of the Naples Academy and in 1809 he settled in Rome until his death in 1834. His collection of paintings was sold at auction after his death and his collection of drawings was left to the city of Lille where it represents the core of the new Musée des Beaux Arts; this figure of Moses stayed with the family .
RELATED LITERATURE
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 441, 457, 458, 461, 466, 472 and 504, figs. 457, 477, 479, 482, 487, 495-6 and 541; J. Pope-Hennessy, Italian High Renaissance and Baroque Sculpture, London, 1963, pp. 78-85, pls. 128-9, 131; L.F. Ghersi, Alessandro Vittoria, Udine, 1998, pl. 3; Jean Baptiste Wicar (1762-1834) et son temps, Lille, 2004; G. Lorenzetti, Venezia e il suo estuario, Rome, 1956, p.389