- 39
Attributed to Severo Calzetta da Ravenna (active 1496-1543) Italian, Padua, first half 16th century
Estimate
20,000 - 30,000 GBP
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Description
- Inkwell and oil lamp in the form of Atlas supporting the Globe of Heaven
- bronze, on a velvet covered wood base
- Attributed to Severo Calzetta da Ravenna (active 1496-1543) Italian, Padua, first half 16th century
with a white label indistinctly inscribed and numbered: 47 to the underside of the base
Condition
Overall the condition of the bronze is good, with minor dirt and wear to the surface consistent with age. There is wear to the old lacquers throughout. Drill holes (probably original mount holes) are visible to the arms and to the base beneath Atlas' proper right foot. The separately cast inkwell and lamp are slightly loose. The lamp is in two parts. There is wear to the velvet base.
"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."
"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 is one of only two surviving complete versions of Severo da Ravenna's Atlas supporting the globe of Heaven. The other example is in the Frick Collection (inv. no. 15.2.24). A third formerly in the Stefano Bardini collection (his sale, 5 June 1899, lot 6) is now lost.
The use of different bases, inkwells and penholders on each of the three complete casts reveals how Severo's workshop functioned. Each bronze utensil could be differentiated with the use of a range of interchangeable stock elements. In the case of the Atlas inkwell, the main figure and his globe feature on all three objects, while the surmounting putto, pen holder, base and feet differ each time. Just how flexible the workshop became using this process is demonstrated in Berlin's cast of Severo's Satyress with child candlestick (inv. no. 5014, see lot 40). That incorporates exactly the same triangular base, recognisable by its simple floral frieze, as the present bronze.
The use of different bases, inkwells and penholders on each of the three complete casts reveals how Severo's workshop functioned. Each bronze utensil could be differentiated with the use of a range of interchangeable stock elements. In the case of the Atlas inkwell, the main figure and his globe feature on all three objects, while the surmounting putto, pen holder, base and feet differ each time. Just how flexible the workshop became using this process is demonstrated in Berlin's cast of Severo's Satyress with child candlestick (inv. no. 5014, see lot 40). That incorporates exactly the same triangular base, recognisable by its simple floral frieze, as the present bronze.
RELATED LITERATURE
J. Pope-Hennessy and A. Radcliffe, Sculpture in the Frick collection, cat. Frick Collection, New York, 1970, pp. 106-111; V. Krahn, Bronzetti veneziani. Die venezianischen Kleinbronzen der Renaissance aus dem Bode-Museum Berlin, Berlin, 2003, pp. 72-75 and 82-85, nos. 15 and 18