Lot 126
  • 126

AFTER JOHN FLAXMAN (1755-1826)ENGLISH, 19TH CENTURY | Relief with the Adoration of the Magi

Estimate
8,000 - 12,000 GBP
bidding is closed

Description

  • Relief with the Adoration of the Magi
  • bronze
  • 24.5 by 41.5cm., 9 5/8  by 16 3/8 in. 
  • After John Flaxman (1755-1826) English, 19th century

Provenance

Gifted by Dixon Henry Davies to Richard Sinclair Lovelace Mole, 12 November 1912

Condition

Overall, the condition of the bronze is very good, with minor dirt and wear to the surface consistent with age. There are traces of greening across the relief, in particular to the lower edges. The frame is associated, with a related dedication plaque.
"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 beautiful bronze reliefs follows one of Flaxman's most extraordinary models: the Adoration of the Magi. Combining almost abstracted forms with simplicity of composition, Flaxman's design has been cited as strikingly modern, and looking forward to 20th century artists such as Eric Gill (1882-1940). The marble relief version, believed to have been carved circa 1792-1794, was rediscovered in 2003 and prominently featured in an exhibition at the Bode Museum in 2009 entitled: John Flaxman and the Renaissance: A Master of Neo-Classicism in Dialogue with Masaccio and Donatello. As the title suggests, the authors drew comparisons with the 'monumental forms of Donatello's Pazzi Madonna as well as Massacio's sculpture-like figures' (op. cit., p. 65). A plaster version, coated in brown paint, and dating to circa 1792-1794 is in the Sir John Soane's Museum, London (inv. no. MRR 10). Another plaster, thought to be lifetime, was presented by University College to the University of Virginia. A bronze version on the American art market is discussed in the 2009 catalogue, which states 'its origin's in Flaxman's studio are questionable because hardly any bronzes were produced there' (op. cit., p. 71). There are some differences between the present relief and the marble and plaster versions, such as the fact the ends of the drapery on the right side have been cut off. Some of the details, such as some of the strands of hair, are faint. As such, it seems likely that the bronze is cast after the plasters. Whilst it is difficult to say whether it was cast in Flaxman's lifetime, the patina and the reverse are consistent with a 19th century dating. RELATED LITERATURE
H-U. Kessler (ed.), John Flaxman and the Renaissance: A Master of Neo-Classicism in Dialogue with Masaccio and Donatello, exh. cat. Bode-Museum, Berlin, 2009