ASTA 326 - ARTE ANTICA E DEL XIX SECOLO

Lot N: 0213

MANIFATTURA DEL XVIII SECOLO

Bronze bell.

23 x 36 cm

Starting Price

Euro 300,00

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Lot N: 0214

MANIFATTURA DEL XVIII SECOLO

Bronze bell with scene of the conversion of Saint Eustace.

23 x 30 cm

Starting Price

Euro 300,00

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Lot N: 0215

VINCENZO CINQUE (1852 - 1929)

Young satyr seated.

28 x 51 x 28 cm

Signature at the base. Base in marble.

Neapolitan sculptor, Vincenzo Cinque studied at the local Accademia di Belle Arti. A contemporary of Vincenzo Gemito, he was part, together with artists such as Giovanni De Martino, of the group of Neapolitan sculptors who, at the turn of the two centuries, dedicated themselves to depicting images taken from the popular repertoire in a realist way: even the figures of ancient myth , as in the case of this young satyr bearing the attributes of Dionysus (a chalice and a bunch of grapes), become daily, so much to remember, if it were not for the goat limbs, plus a neapolitan child between the nineteenth and twentieth centuries , dressed for fun as a character of the Bacchic procession, more than a true mythological figure.

Sold at

Euro 800,00

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Lot N: 0216

BRONZISTA VENETO DEL XVI SECOLO

Bronze inkwell.

9.5 x 9 x 9.5 cm

Starting Price

Euro 300,00

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Lot N: 0217

MANIFATTURA FIORENTINA DEL XVI SECOLO

Pair of gilt bronze chest locks with trophy decorations, grotesque and allegories of Abundance

18.5 x 19 cm

The Soprintendenza alle Belle Arti italiana considers this painting to be a work of national importance and requires it to remain in Italy; it cannot therefore be exported from Italy.

The two examples of locks, characterized by a high executive quality and the refinement of the trophy and allegory decorations, are most likely to be traced back to an original location on the front of two Renaissance wedding chests, a production that enjoyed great success in Italy between the end of the 14th century and the whole of the15th century. Usually produced in pairs and made on the occasion of the wedding between two exponents of aristocratic families, they often presented on the front the heraldic coats of arms of the two families and rich decorations, carved, painted or sculpted: the themes were mainly symbolic or literary, with frequent references to courtly scenes or classical symbology, with personifications of the Virtues or allegories of Abundance and conjugal fidelity. The structure of the first cassoni evolves from initially geometric and regular shapes, with straight front and sides, to a more moved and varied shape, with increasingly high-relief decorations and "urn" or architectural structures, then reaching rounded shapes densely decorated with sculpted motifs from the second half of the 16th century. These locks, given their strongly classical decoration and the square shape, combined with the considerable size, were probably applied to a pair of early 15th century cassoni, still linked to a partially square shape of the panels, but densely decorated with elegantly carved and sculpted figures, often gilded (thus creating an ideal continuity with the two locks). This typology, in vogue from the second half of the 15th century to the first decades of the 16th century, is well represented by some examples (mainly from the end of the 15th century) as a wedding chest with scenes in gilt pastiglia (gesso) taken from Ovid's Metamorphoses, preserved at the Metropolitan Museum of New York (AA. VV. "European Furniture in The Metropolitan Museum of Art. Highlights of the Collection", New Haven / London 2006, p. 17 fig. 4), one in carved and gilt wood with mythological scenes and garlands in the Bardini museum in Florence (inv. 748) and, above all, a "Cassone with the four Cardinal Virtues", of Florentine context and architectural style, in imitation of classical sarcophagi, belonging to the collection of the Museo Nazionale del Palazzo di Venezia in Rome (L. Calzona, file 137, in M.G. Barberini, M.S. Sconci (curated by), “Guida al Museo Nazionale del Palazzo di Venezia”, Rome 2009, p. 123). Given the 16th century manufacture of the pair of locks, it cannot be excluded that they were made later than the cassoni for which they were conceived, subsequent interventions not uncommon for objects of use. One of the two locks presents noble coats of arms: in the center of the locking plate, at the foot of the allegory of Abundance, a tree (perhaps the Della Rovere oak) is visible, while in the lateral decorations, below the grotesque masks, are present two coats of arms bearing a pair of dolphins.

Comparative literature: AA. VV. “European Furniture in The Metropolitan Museum of Art. Highlights of the Collection”, New Haven/London 2006, p. 17 fig. 4;
L. Calzona, file 137, in M.G. Barberini, M.S. Sconci (cured by), “Guida al Museo Nazionale del Palazzo di Venezia”, Rome 2009, p. 123.

Starting Price

Euro 8.000,00

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Lot N: 0218

BRONZISTA DEL XIX SECOLO

David (after Gian Lorenzo Bernini).

15 x 31 x 21 cm

Starting Price

Euro 300,00

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Lot N: 0219

MANIFATTURA DEL XIX SECOLO

Pair of bronze putti asleep on a yellow marble base.

15 x 7 x 7 cm

Sold at

Euro 140,00

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Lot N: 0221

TORQUATO TAMAGNINI (1886 - 1965)

Male portrait bust.

29 x 46 cm

Marble base. Signed on the back. Dimensions with base: h 64 cm.

After having studied at the Accademia di San Luca in Rome, Tamagnini founded the art house for sculpture "Corinthia" in 1922, through which he created many monuments to the Fallen, including those of Arcevia, Formello, Morlupo and Sacrofano. In 1921 Tamagnini exhibited two portrait sculptures at the 1st Roman Biennale, participating in the first Biennale of Naples in the same year. His bronze "The Inquisitor" (1919) is kept in the Quirinale collections.

Comparative literature: A. Panzetta, "Nuovo dizionario degli scultori italiani", Turin 2003, vol. 2, p. 901.

Sold at

Euro 1.500,00

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Lot N: 0222

LÉON JACQUES GAILLARD (XIX-XX SECOLO)

The Rape of the Sabine Women.

46 x 104 x 34 cm

Signature at the base. Overall dimensions with base: 169x49x49 cm.

Léon Jacques Gaillard, born in Preignac in Gironde, was a French sculptor active between the 19th and 20th century, a pupil of Alexandre Falguière and Antonin Mercié. Some of his sculptures have been exhibited in many editions of the Salon in Paris: "La Cigale" (1896), "Yolaine" (1898), a plaster of the queen of the Franks Fredegund (1905) and "Devant l'Aréopage" (1914). The virtuosity of his masters echoes in this bronze version of the Rape of the Sabine Women, taken from the famous masterpiece in marble by Giambologna in the Loggia dei Lanzi in Piazza della Signoria, Florence. Legendary episode of the origins of Rome, in its sculptural transposition by Giambologna the Rape of the Sabine Women became an example of one of the peaks of mannerist mastery of the second half of the 16th century, a composition replicated many times in the following centuries and a true prelude to the upheaval of the Baroque in the 17th century.

Literature: P. Kjellberg. "Bronzes of the 19th Century: Dictionary of Sculptors", London 1994, p. 341.

Sold at

Euro 1.900,00

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First session 1-86 15/06/21

11:00

Second session 87-174 15/06/21

15:00

Third session 175-262 16/06/21

11:00

Fourth session 263-345 16/06/21

15:00

Exposition

11 - JUNE 14TH
10-1PM; 3.30PM-6.30PM (SATURDAY AND SUNDAY INCLUDED).