GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS
GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS

Lot Closed

GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS
GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS
GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS
GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS
GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS
126

GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS

Estimate:

4,000 - 6,000 GBP

GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS

GUILLIELMUS DE GROF (1676-1742) | PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS

Estimate:

4,000 - 6,000 GBP

Description

GUILLIELMUS DE GROF (1676-1742)

GERMAN, MUNICH, EARLY 18TH CENTURY

PAIR OF GROUPS WITH PUTTI REPRESENTING SEASONS


bronze, on ebonised wood bases

bronzes: 19cm., 7½in. each

bases: 11.5cm., 4½in. each


To view the Shipping Calculator, please click here

Condition report

Overall the conditon of the bronzes is good, with some dirt and wear to the surface consistent with age. Some of the arms have been carved separately, and joints are slightly visible, including a slightly open but stable joint to the upper arm of the kneeling putto on the Spring group (holding the flower garland). There is a small loss to the terminal of the drapery of the same putto. The proper left front paw of the dog on the other group has also been cast separately, the leg is slightly loose but stable. There are a few original casting fissures, including on the Autumn group (holding the grapes) to the standing putto's proper right hip and shoulder and top of the head, and to the kneeling putto's buttocks, arms and shoulders. There are a few minor casting fissures to the other group, in particular to the back of the proper right knee of the standing putto. There are some nicks and scratches to the patina in areas. There is general wear and rubbing to the patina, in particular to the high points.

The ebonised wood bases are in very good condition, there are some minor nicks and scratches to the surface, in particular to the edges and corners. 


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Catalogue note

Another pair of casts of the present models by de Grof are preserved in the Bayerisches Nationalmuseum (inv. nos. E241 and E242). Guillielmus (or Guillaume) De Grof was born in Antwerp in circa 1676, training as a sculptor in Paris, where he eventually entered into the service of Louis XIV. In 1714 he created his seminal equestrian group, the magnificent bronze Apotheosis of Maximilian II Emanuel, Elector of Bavaria (Bayerisches Nationalmuseum, inv. no. R3973), commissioned in 1714, whilst Maximilian Emanuel was living in exile in Paris. In 1716, after the Elector had returned to power, De Grof moved to Bavaria, where he became court sculptor, modelling the now lost lead garden sculptures for the Nymphenburg and Schleißheim palaces.


RELATED LITERATURE

H. R. Weihrauch, Die Bildwerke in Bronze und in anderen Metallen, cat. Bayerisches Nationalmuseum, vol. XIII, 5, Munich, 1956, pp. 198-199, nos. 241-242