Lot 43
  • 43

French, first quarter of the 17th century, attributed to Guillaume Berthelot (1583-1648)

Estimate
25,000 - 40,000 EUR
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Description

  • Antinoüs
  • bronze, light brown patina
  • Haut. 30,5 cm; height 12 in.

Literature

G. Bresc-Bautier, G. Scherf, Bronzes français de la Renaissance au Siècle des Lumières, cat. exp. musée du Louvre, Paris, 2009, pp. 172-177; J. Warren, Beauty & Power. Renaissance and Baroque bronzes from the Peter Marino collection, cat. exp. Wallace Collection, Londres, 2010, pp. 114-127.

Condition

Very fine and crisp cast, very precise in all details. The medal couloured patina withe mottled surface. There appears to be a small dent to Antinous' nose tip and to the major curl of his hair on his forehead. A few very minor dents to the base, some minor wear to the patina, in particular to his proper left knee, and a few circular plugs visible at several places.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

This graceful, yet heavily cast figure is typical of early French bronze statuettes made at the time of Barthélémy Prieur (1536-1611) and Ponce Jacquiot (active from 1553 -1570). More precisely, it can be compared to casts by Guillaume Berthelot (1583-1648). Returning from Rome in 1618, where he studied antique models while working for Pope Paul V Borghese, Berthelot re-joined the court of Marie de Medici and worked for Cardinal Richelieu. In 1648, his posthumous inventory mentions small bronze statuettes demonstrating a notable production of this art form alongside his monumental statuary. In particular, the composition of his Diana with Stag, shows the last influences of Mannerism and the beginnings of Classicism (Dresden, Staatliche Kunstsammlungen, Inv. No. IX.29). Another bronze of Diana with Stag paired with an Apollo and the Python in the collection of Peter Marino also have strong affinities with the present Antinous in the rendering of the hair, the projecting upper eyelids and small ears. The long tapered fingers of our bronze, the subtle treatment of the musculature, the soft folds of the drapery wrapped around his left arm, and the handling of the wide curls of the hair are all characteristics of small French bronzes during the first third of the 17th century.