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拍品专文
COMPARATIVE LITERATURE:
J. C. Robinson, Catalogue of the various works of art forming the collection of Mathew Uzielli, London, 1860, no. 613.
Fifty Treasures of the Dayton Art Institute, exhibitionn catalogue, Dayton Ohio, 1969, p. 76 no. 24.
K. Watson and C. Avery, 'Medici and Stuart: A Grand Ducal Gift of 'Giovanni Bologna' Bronzes for Henry Prince of Wales (1612),' The Burlington Magazine, August 1973, pp. 493 - 507.
The Bronze Figure in Italy, exhibition catalogue, St. Petersburg, Florida, 1981, no. 16.
Z. Filipczak, Hot Dry Men, Cold Wet Women, exhibition catalogue, Williamstown, MA, 1993, fig. 5, no. 57.
C. Avery, Giambologna: An Exhibition of Sculpture by the Master and his Followers, From the Collection of Michael Hall, Esq., New York, 1998, pp. 22 - 27.
Most of the examples show Fortuna, or the Venus Marina, as it has often been called, with the sails having been ripped away by the wind. Two of Giambologna's best models are in the Louvre and the Metropolitan Museum of Art and, as Avery notes, none of them appear to have ever been intended to have had the full sail or drapery as their ends are finished (Avery, 1978, op. cit., pp. 69 - 71). However, as Avery also notes, this is certainly work that could have been done afterwards. That there was contemporary version is almost certain. A closely related figure of Fortuna can be seen in a painting by Rudolph II's court painter Bartolomäus Spranger (1546 - 1611), where she is depicted standing on a cart wheel, set horizontally (Dayton, op. cit.). Giambologna's authorship of the original model, dated between 1565 and 1570 - together with the involvement of Antonio Susini with the actual casting - has been extensively discussed by Watson and Avery (op. cit., pp. 501 - 503). Also discussed is how Fortuna was conceived as a pair to Giambologna's equally iconic Mercury.
There are only two extant versions of Fortuna with the full sail or drapery. Besides the Gaines Fortuna, the other, cast from a Giambologna model with the studio assistance of Susini, has been extensively exhibited in Minneapolis, St. Petersburg, Louisville, Durham, and Williamstown and New York (Avery, op. cit., 1998, p. 22). There are differences in the patina (the former with a black lacquer with a distinctive green coloring and the latter with a golden brown), casting and assembly, most noticeably, the break in the drapery just below her right hand on the Gaines Fortuna compared with the break just above the right thumb on the other.
One of these two is almost certainly from the Uzielli collection and is described in the catalogue: 'Venus. A standing statuette the left arm upraised, holding one end of a scarf or mantle, the other end of which is held in the right hand, and is supposed to be floating in the wind, forming an arch above the head of the figure. A highly finished cinque-cento bronze. From the Collection of the Marquis della Gherardesca, Florence, 1859. Entire height about 18 in.' (Robinson, op. cit.).
While the Gaines Fortuna was included in Charles Avery's landmark Giambologna exhibition, it is now thought to be almost certainly a later, 18th century, version. However, it retains all the grace of the Giambologna's original design and is one of the most dramatic and spectacular compositions conceived for bronze, with the bravura touch of the drapery testing the metal to its utmost.
J. C. Robinson, Catalogue of the various works of art forming the collection of Mathew Uzielli, London, 1860, no. 613.
Fifty Treasures of the Dayton Art Institute, exhibitionn catalogue, Dayton Ohio, 1969, p. 76 no. 24.
K. Watson and C. Avery, 'Medici and Stuart: A Grand Ducal Gift of 'Giovanni Bologna' Bronzes for Henry Prince of Wales (1612),' The Burlington Magazine, August 1973, pp. 493 - 507.
The Bronze Figure in Italy, exhibition catalogue, St. Petersburg, Florida, 1981, no. 16.
Z. Filipczak, Hot Dry Men, Cold Wet Women, exhibition catalogue, Williamstown, MA, 1993, fig. 5, no. 57.
C. Avery, Giambologna: An Exhibition of Sculpture by the Master and his Followers, From the Collection of Michael Hall, Esq., New York, 1998, pp. 22 - 27.
Most of the examples show Fortuna, or the Venus Marina, as it has often been called, with the sails having been ripped away by the wind. Two of Giambologna's best models are in the Louvre and the Metropolitan Museum of Art and, as Avery notes, none of them appear to have ever been intended to have had the full sail or drapery as their ends are finished (Avery, 1978, op. cit., pp. 69 - 71). However, as Avery also notes, this is certainly work that could have been done afterwards. That there was contemporary version is almost certain. A closely related figure of Fortuna can be seen in a painting by Rudolph II's court painter Bartolomäus Spranger (1546 - 1611), where she is depicted standing on a cart wheel, set horizontally (Dayton, op. cit.). Giambologna's authorship of the original model, dated between 1565 and 1570 - together with the involvement of Antonio Susini with the actual casting - has been extensively discussed by Watson and Avery (op. cit., pp. 501 - 503). Also discussed is how Fortuna was conceived as a pair to Giambologna's equally iconic Mercury.
There are only two extant versions of Fortuna with the full sail or drapery. Besides the Gaines Fortuna, the other, cast from a Giambologna model with the studio assistance of Susini, has been extensively exhibited in Minneapolis, St. Petersburg, Louisville, Durham, and Williamstown and New York (Avery, op. cit., 1998, p. 22). There are differences in the patina (the former with a black lacquer with a distinctive green coloring and the latter with a golden brown), casting and assembly, most noticeably, the break in the drapery just below her right hand on the Gaines Fortuna compared with the break just above the right thumb on the other.
One of these two is almost certainly from the Uzielli collection and is described in the catalogue: 'Venus. A standing statuette the left arm upraised, holding one end of a scarf or mantle, the other end of which is held in the right hand, and is supposed to be floating in the wind, forming an arch above the head of the figure. A highly finished cinque-cento bronze. From the Collection of the Marquis della Gherardesca, Florence, 1859. Entire height about 18 in.' (Robinson, op. cit.).
While the Gaines Fortuna was included in Charles Avery's landmark Giambologna exhibition, it is now thought to be almost certainly a later, 18th century, version. However, it retains all the grace of the Giambologna's original design and is one of the most dramatic and spectacular compositions conceived for bronze, with the bravura touch of the drapery testing the metal to its utmost.