View full screen - View 1 of Lot 38. After Andrea Briosco, called Riccio (circa 1470-1532), Italian, Padua, second quarter 16th century | Inkwell in the form of a Seated Youth holding a Cornucopia.
38

After Andrea Briosco, called Riccio (circa 1470-1532), Italian, Padua, second quarter 16th century | Inkwell in the form of a Seated Youth holding a Cornucopia

37

38

39

After Andrea Briosco, called Riccio (circa 1470-1532), Italian, Padua, second quarter 16th century | Inkwell in the form of a Seated Youth holding a Cornucopia

After Andrea Briosco, called Riccio (circa 1470-1532), Italian, Padua, second quarter 16th century | Inkwell in the form of a Seated Youth holding a Cornucopia

After Andrea Briosco, called Riccio (circa 1470-1532)

Italian, Padua, second quarter 16th century

Inkwell in the form of a Seated Youth holding a Cornucopia


bronze, on an associated, probably 16th-century bronze base

inscribed: 58 in red paint to the underside

figure: 18.2cm., 7 1/8 in.

22.2cm., 8¾in. overall

Overall the condition of the bronze is very good, with some surface wear and dirt consistent with age. There is general wear to the patina. There is a casting joint on his right wrist and his right hand may be a replacement. There is a very small casting hole on the boy’s hairline above his left eye. There is a later, damaged fig leaf. There is general surface dirt, particularly in his hair. The base is associated and there is an historic fixing hole under his left foot. One of the horns of one of the rams is lost. 


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.

Eugen Gutmann, Berlin, by 1912;
Camillo Castiglioni, Vienna, by 1923;
his sale, Hermann Ball and Paul Graupe, Berlin, 28-29 November 1930, lot 282;
Kunsthandlung A.S. Drey, Munich;
their forced sale, Paul Graupe, Berlin, 17-18 June 1936, lot 140;
with Kunsthandlung Julius Böhler, Munich;
private collection, Germany

This lot is sold pursuant to a settlement agreement between the current owners and the heirs of the A.S. Drey dealership.
O. von Falke, Die Kunstsammlung Eugen Gutmann, Berlin, 1912, no. 179, pl. 47;
L. Planiscig, Sammlung Camillo Castiglioni: Bronzestatuetten und Geräte, Vienna, 1923, no. 25;
L. Planiscig, Andrea Riccio, Vienna, 1927, p. 480, no. 67;
V. Krahn, Bronzetti Veneziani: Die venezianische Kleinbronzen der Renaissance aus dem Bode-Museum Berlin, Berlin, 2003, p. 100, n. 6
Long associated with Andrea Riccio, the present model is known in several bronze versions which show small differences in composition. While Planiscig (op. cit.) published casts of the model as works by Riccio, there is now a consensus that the existing casts are not autograph, but almost certainly based on a lost original by this influential Paduan sculptor (see Krahn, op. cit., pp. 98-100). The bronze in Berlin (Bode Museum, inv. no. 1830) is considered the earliest and finest of the known versions, with a hammered surface that is reminiscent of Riccio's works. Like the present bronze, it was formerly mounted on an associated triangular base. The cornucopia, which served as an inkwell, is larger here than in the Berlin version and a cast in the Metropolitan Museum, New York (inv. no. 32.100.171), but it compares closely to the version of the model in the Victoria and Albert Museum, London (inv. no. A.92-1910). Formerly owned by Eugen Gutmann (1886-1944) and Camillo Castiglioni (1879-1957), the present bronze passed through two of the most important art collections of early 20th-century Europe.