- 90
French, first quarter 18th century
Estimate
30,000 - 50,000 GBP
bidding is closed
Description
- Diana the huntress
- bronze
- French, first quarter 18th century
Condition
Overall the condition of the bronze is very good. There is some minor wear and dirt to the surface consistent with age. There are a few minor nicks, including to the edges of the base, proper left shin and proper right side of the back. There are several small original casting pins and patches slightly visible, particularly on the legs, there is a larger original repair to the proper right shoulder blade which was roughly filed to join the surrounding surface.
"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 fine French bronze is inspired by the antique marble Atalanta from the Mazarin Collection, which is today in the Musée du Louvre (inv. no. MA 522). The Atalanta was brought from Rome to Paris in the late 17th century by Cardinal Mazarin (1602-1661). It represents the strongwoman of Greek myth, Atalanta, who shunned all attempts by her father to find her a suitor, and who was famed for her athletic prowess. According to Ovid (Metamorphosis, Book 10: 560-637), Atalanta vowed that she would only marry a man who could outrun her. Many failed and were killed for their efforts, until Hippomenes sought the help of Aphrodite, who provided him with three irresistable golden apples. Everytime he fell behind in the race, Hippomenes rolled an apple, which Atalanta would run after. He won the race and therefore her hand in marriage.
In 1703, Pierre Lepautre was commissioned to carve a marble copy of the Atalanta for the park at Marly (installed in 1704). Lepautre's Atalanta was the inspiration for a pendant figure of Hippomenes, carved by Guillaume Coustou (Louvre, inv. no. MR 1810). The two runners were placed in the middle of the Bassin des Carpes between 1711 and 1714, together with another ensemble inspired by Ovid's Metamorphosis, an Apollo by Nicolas Coustou and a Daphne by Guillaume Coustou (Louvre, inv. nos. MR 1805 and MR 1807).
Small bronze versions of these models were highly sought after by Parisian collectors of the early 18th century. The present bronze is clearly derived from the Atalanta in terms of pose. However, her attributes would suggest that she represents the goddess of the hunt, Diana. In this respect, the bronze can be said to be a variant, which references the most celebrated antiquity in Paris at the time, the Diana of Versailles (Louvre inv. no. MR 152), in which Diana is also presented in motion.
The present bronze is particularly finely cast and chased. Note the superb chasing visible on the tree stump, to which the huntress' quiver is elaborately bound by its own strap. Particularly impressive are the ribbons from Diana's fillet, which are suspended from her neck and fall onto her shoulders in crushed folds. Following the lead of some of the best examples of small bronzes from the period, the artist has deliberately placed Diana's left foot so that it projects beyond the base. The supporting lip underneath compares closely with that seen on the base of an early 18th century bronze Mercury with the Head of Argus, attributed to the circle of François Girardon in the Peter Marino Collection (Warren, op. cit. pp. 178-83, no. 16).
RELATED LITERATURE
Les Bronze de la Couronne. exhib. cat. Musée du Louvre, Paris, 1999, pp. 183-4, nos. 325, 326; J. D. Draper and G. Scherf (eds.), Cast in Bronze. French Sculpture from the Renaissance to the Revolution, exhib. cat. Musée du Louvre and Metropolitan Museum of Art, Paris and New York, 2008, pp. 237-41; J. Warren, Beauty and Power. Renaissance and Baroque Bronzes from the Peter Marino Collection, exhib. cat. Wallace Collection, Huntington Art Collections and Minneapolis Institute of Arts, London, 2010, pp. 178-83, no. 16
In 1703, Pierre Lepautre was commissioned to carve a marble copy of the Atalanta for the park at Marly (installed in 1704). Lepautre's Atalanta was the inspiration for a pendant figure of Hippomenes, carved by Guillaume Coustou (Louvre, inv. no. MR 1810). The two runners were placed in the middle of the Bassin des Carpes between 1711 and 1714, together with another ensemble inspired by Ovid's Metamorphosis, an Apollo by Nicolas Coustou and a Daphne by Guillaume Coustou (Louvre, inv. nos. MR 1805 and MR 1807).
Small bronze versions of these models were highly sought after by Parisian collectors of the early 18th century. The present bronze is clearly derived from the Atalanta in terms of pose. However, her attributes would suggest that she represents the goddess of the hunt, Diana. In this respect, the bronze can be said to be a variant, which references the most celebrated antiquity in Paris at the time, the Diana of Versailles (Louvre inv. no. MR 152), in which Diana is also presented in motion.
The present bronze is particularly finely cast and chased. Note the superb chasing visible on the tree stump, to which the huntress' quiver is elaborately bound by its own strap. Particularly impressive are the ribbons from Diana's fillet, which are suspended from her neck and fall onto her shoulders in crushed folds. Following the lead of some of the best examples of small bronzes from the period, the artist has deliberately placed Diana's left foot so that it projects beyond the base. The supporting lip underneath compares closely with that seen on the base of an early 18th century bronze Mercury with the Head of Argus, attributed to the circle of François Girardon in the Peter Marino Collection (Warren, op. cit. pp. 178-83, no. 16).
RELATED LITERATURE
Les Bronze de la Couronne. exhib. cat. Musée du Louvre, Paris, 1999, pp. 183-4, nos. 325, 326; J. D. Draper and G. Scherf (eds.), Cast in Bronze. French Sculpture from the Renaissance to the Revolution, exhib. cat. Musée du Louvre and Metropolitan Museum of Art, Paris and New York, 2008, pp. 237-41; J. Warren, Beauty and Power. Renaissance and Baroque Bronzes from the Peter Marino Collection, exhib. cat. Wallace Collection, Huntington Art Collections and Minneapolis Institute of Arts, London, 2010, pp. 178-83, no. 16