D'APRES GIAMBOLOGNA (1529-1608), FLORENCE, PREMIERE MOITIE DU XVIIEME SIECLE

Details

STATUETTE REPRESENTANT UN TAUREAU
D'APRES GIAMBOLOGNA (1529-1608), FLORENCE, PREMIERE MOITIE DU XVIIEME SIECLE
En bronze, sur un socle moderne, rectangulaire en ardoise; laqué brun doré avec des traces de patine plus foncée, légères éraflures et restaurations
Hauteur: 25 cm. (9½ in.), Longueur: 21.3 cm. (8½ in.), Hauteur totale: 32.3 cm. (12¾ in.)

Literature

LITTERATURE COMPAREE:
Edimbourg, Londres, Vienne, Royal Scottish Museum, Victoria and Albert Museum, et Kunsthistorisches Museum, Giambologna 1529-1608 Sculptor to the Medici, 19 aout. - 10 sep. 1978 et 2 dec. 1978 - 28 jan. 1979, C. Avery et A. Radcliffe eds., p. 192, no. 178.
C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, no. 144, p. 270.
New York, GIAMBOLOGNA - An Exhibition of his sculpture by the master and his followers - From the collection of Michael Hall Esq, 6 mar. - 4 avr. 1998, C. Avery ed., pp. 124-5, no. 43.

Special notice

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Further details

A BRONZE MODEL OF A PACING BULL
AFTER GIAMBOLOGNA, FLORENCE, FIRST HALF 17TH CENTURY
On a modern rectangular slate base; golden brown lacquer with traces of a darker patina; minor scratches and restorations

The renaissance interest in depicting images of the domestic bull took as its inspiration various antique prototypes. In his book on the sculptor Giambologna, Charles Avery suggests that his Bull was modelled after antique bovine sculptures, although no specific sculptural source can be cited (Avery, 1987, op. cit. p. 56).

Giambologna produced a small wax model of a bull that was probably cast and finished in the workshop of Antonio Susini. Various examples of bulls were produced as a result of this collaboration, including one in the Smith College Museum of Art, Massachusetts (Avery and Radcliffe, loc. cit.) that relates very closely to the present lot. They are represented in a virtually identical pose and with very similar modelling to the body.

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Lot Essay

L'intérêt é la Renaissance pour les représentations du taureau domestique, s'inspira de divers modèles antiques. Dans son livre sur le sculpteur Giambologna, Charles Avery suggère que son taureau fut modelé d'après des sculptures bovines antiques, bien que l'on ne puisse citer de sources précises à ce sujet (Avery, 1987, op. cit. p. 56). Giambologna produisit un petit modèle de taureau en cire qui fut probablement moulé et fini dans l'atelier d'Antonio Susini. Divers exemples de taureaux furent réalisés à la suite de cette collaboration, dont un, conservé au Smith College Museum of Art, Massachussets (Avery et Radcliffe, loc. cit.), qui se rapproche de très près de ce bronze. Les deux modèles sont en effet représentés dans une attitude pratiquement identique, avec un modelage très similaire du corps.

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