- 14
隨提賈諾·艾斯佩蒂
估價
120,000 - 180,000 USD
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招標截止
描述
- After Tiziano Aspetti
- 《維納斯與戰神》，十六世紀末/十七世紀初
- 青銅
來源
Leon Collection
Peter Harris Collection
Sale: The Cyril Humphris Collection, New York, Sotheby's, January 10, 1995, lot 25
Acquired at the above sale by A. Alfred Taubman
Peter Harris Collection
Sale: The Cyril Humphris Collection, New York, Sotheby's, January 10, 1995, lot 25
Acquired at the above sale by A. Alfred Taubman
展覽
London, Victoria and Albert Museum, Italian Bronze Statuettes, 1961, no. 183 and 184;
Amsterdam, Rijksmuseum, Meesters van het brons der Italiaanse renaissance, 1962, no. 161 and 162;
On loan to the Victoria and Albert Museum, 1971-1976
Amsterdam, Rijksmuseum, Meesters van het brons der Italiaanse renaissance, 1962, no. 161 and 162;
On loan to the Victoria and Albert Museum, 1971-1976
出版
Claudia Kryza-Gersch, in Debra Pincus (ed.), Small Bronzes in the Renaissance, Washington, D.C, 2001, p. 150, no. 13 and 14;
Comune di Padova, Donatello e il suo temp. Il bronzetto a Padova nel Quattrocento e nel Cinquecento (exhibition catalogue), 2001, no. 90, p. 350
Comune di Padova, Donatello e il suo temp. Il bronzetto a Padova nel Quattrocento e nel Cinquecento (exhibition catalogue), 2001, no. 90, p. 350
Condition
Remainders of black lacquer over golden-brown patina, standard surface abrasions and old casting flaws. Lovely quality.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
Named for his uncle, a successful sculptor, Aspetti was born in the Italian city of Padua in 1565 to a famous family of founders and then studied with Girolamo Campagna, the most prominent sculptor in Venice, between 1580 and 1600. Aspetti was known for his dramatic maniera style which originated under Campagna’s tutelage and was developed further on his own while he worked on large-scale public commissions in Venice, Padua and Tuscany.
The present statuette of Mars is quintessentially Aspetti in style and is extremely similar to the outstanding autograph figure of Mars, first half of the 1590s, in the Frick Collection, New York (fig. 1) (C. Kryza-Gersch, 2001, op. cit., fig. 3). This attribution to the master is based on conclusive comparisons with two bronze reliefs depicting the Martyrdom of Saint Daniel commissioned from Aspetti in 1592 for the altar of St. Daniel in the crypt of the Duomo, Padua. With small differences to the helmets and to their positions on the bases adorned with armor, both figures are integrally cast with their elaborate socles. Similarly, the autograph pendant to the Frick Mars, the Venus in the Accademia Carrara, Bergamo (C. Kryza-Gersch 2001, op. cit., fig. 11), has an integrally cast socle which is also repeated in the present figure of Venus and is clearly fundamental to the design of both statuettes, ultimately affording them the appearance of monumentality (C. Kryza-Gersch 2001, op.cit.).
The present bronzes are noted in the literature as very fine casts and are rare in that they are the only other known examples of Mars and Venus with the feature of the integrally cast pedestal. Independent figures of the god and goddess without socles have been widely produced but those casts are of much lesser quality. Furthermore, these bronzes are extensively modelled and chased with detailed ornamentation, a treatment which Kryza-Gersch highlights and compares with the similar surface found on the second cast of the famous Daniel reliefs by Aspetti in the Metropolitan Museum of Art.
The present statuette of Mars is quintessentially Aspetti in style and is extremely similar to the outstanding autograph figure of Mars, first half of the 1590s, in the Frick Collection, New York (fig. 1) (C. Kryza-Gersch, 2001, op. cit., fig. 3). This attribution to the master is based on conclusive comparisons with two bronze reliefs depicting the Martyrdom of Saint Daniel commissioned from Aspetti in 1592 for the altar of St. Daniel in the crypt of the Duomo, Padua. With small differences to the helmets and to their positions on the bases adorned with armor, both figures are integrally cast with their elaborate socles. Similarly, the autograph pendant to the Frick Mars, the Venus in the Accademia Carrara, Bergamo (C. Kryza-Gersch 2001, op. cit., fig. 11), has an integrally cast socle which is also repeated in the present figure of Venus and is clearly fundamental to the design of both statuettes, ultimately affording them the appearance of monumentality (C. Kryza-Gersch 2001, op.cit.).
The present bronzes are noted in the literature as very fine casts and are rare in that they are the only other known examples of Mars and Venus with the feature of the integrally cast pedestal. Independent figures of the god and goddess without socles have been widely produced but those casts are of much lesser quality. Furthermore, these bronzes are extensively modelled and chased with detailed ornamentation, a treatment which Kryza-Gersch highlights and compares with the similar surface found on the second cast of the famous Daniel reliefs by Aspetti in the Metropolitan Museum of Art.
RELATED LITERATURE
Leo Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pls. 624, 627 and 628, pp. 568-570
John Pope-Hennessy, Renaissance Bronzes from the Samuel H. Kress
Collection, Reliefs, Plaquettes, Statuettes, Utensils and Mortars, London, 1965, pls. 569-570, p. 125
H.R. Weihrauch, Europäische Bronzestatuetten 15-18 Jahrhundert, Brunswick, 1967, pp. 155-163
John Pope-Hennessy and Anthony Radcliffe, The Frick Collection, Italian Sculpture, vol. III, New York, 1970, pp. 183-185
Andrea Bacchi, Lia Camerlengo and Manfred Leithe-Jasper, La bellissima maniera: Alessandro Vittoria e la scultura veneta del Cinquecento, Trento, 1999, p. 417
Volker Krahn, Bronzetti Veneziani, Berlin, 2003, p. 152-154