AFTER THE MODEL BY GIAMBOLOGNA, WORKSHOP OF ANTONIO SUSINI, (FL. 1580-1624), EARLY 17TH CENTURY
AFTER THE MODEL BY GIAMBOLOGNA, WORKSHOP OF ANTONIO SUSINI, (FL. 1580-1624), EARLY 17TH CENTURY
AFTER THE MODEL BY GIAMBOLOGNA, WORKSHOP OF ANTONIO SUSINI, (FL. 1580-1624), EARLY 17TH CENTURY
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AFTER THE MODEL BY GIAMBOLOGNA, WORKSHOP OF ANTONIO SUSINI, (FL. 1580-1624), EARLY 17TH CENTURY
4 更多
AFTER THE MODEL BY GIAMBOLOGNA, WORKSHOP OF ANTONIO SUSINI, (FL. 1580-1624), EARLY 17TH CENTURY

A BRONZE FIGURE OF A COWHERD LEANING ON HIS STAFF

细节
AFTER THE MODEL BY GIAMBOLOGNA, WORKSHOP OF ANTONIO SUSINI, (FL. 1580-1624), EARLY 17TH CENTURY
A BRONZE FIGURE OF A COWHERD LEANING ON HIS STAFF
on a later circular bronze base and modern square black marble pedestal
4 7⁄8 in. high
8 ¼ in. high on base
来源
Stirtloe House, Buckden, Cambridgeshire.
With Daniel Katz Ltd, London, where acquired on 22 April 1998.
出版
COMPARATIVE LITERATURE:
Radcliffe and C. Avery, Giambologna 1529-1608 Sculptor to the Medici, Edinburgh and London, 1978, nos. 137-8.
M. Leithe-Jasper and P. Wengraf, European Bronzes from the Quentin Collection, New York, 2004, no. 13.
展览
Daniel Katz, European Sculpture, New York, 4-14 May 1998.

荣誉呈献

Will Russell
Will Russell Specialist

拍品专文

In 1601 a silver version of the present composition was one of four silver statuettes loaned from the Galleria of the Uffizi to Antonio Susini (died 1624), who was the most celebrated assistant of Giambologna (1529-1608), Court Sculptor to the Medici Grand Dukes of Tuscany. In the inventory made of Benedetto Gondi’s collection in Florence on 4 November 1609, there is mention of ‘Un pastorino’, and it is given to Giambologna. These – and other- early documentary references - have led to the general acceptance of the Peasant Resting on his Staff as a model created by Giambologna. The model recalls Giambologna’s Flemish origin and training, upon which he may also have drawn when asked to create many of the decorations for the gardens and grounds of Francesco de’ Medici’s villa at Pratolino in the late 1570s. It combines a charming affection for rural life with the quality expected of a bronze made in the courtly milieu of renaissance Florence.

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