Workshop of Bertel Thorvaldsen (1768 - 1844) Italian, 19th century

The condition of the ivory is good with minor wear and dirt to the surface consistent with age. The feet and figures are carved separately and attached. The tip of the left wing of the eagle has been reattached. There is some light discolouration to the ivory, consistent with the material. There is some stable separation at the joints of the panels, particularly to the back left joint and the outer joints along the front and back panels of the lid. There is dirt to the crevices.
"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."

Following the death of Antonio Canova, Bertel Thorvaldsen became the foremost Neoclassical sculptor in Italy. Danish by birth, Thorvaldsen worked in Rome where he ran a large and productive studio to meet his many public and private commissions. By the late 1830s, his reputation and salary overshadowed those of all other contemporary artists in Europe.  His works are characterised by his commitment to a classicising ideal. Often conceived of in a sketch on paper, his models were then realised full-size in clay before his staff were able to make marble copies, integral to his meeting the abundant demands of patrons. Luigi Bienaimé counted among his impressive and professional team.

The present ivory casket is adorned with Thorvaldsen’s model of Ganymede with Jupiter’s Eagle. Thorvaldsen’s marble version of this, measuring 93.3cm. high, is in the Thorvaldsen Museum in Copenhagen (inv. no. A44). This model, executed in 1817, is celebrated for Thorvaldsen’s interest in texture: the young boy’s smooth supple skin contrasts with the Eagle’s downy body, comprising built-up layers of feathers. Its sharp curled claws and defining curved beak add further formal contrast to the boy, whose soft curls and limp hat frame his pure, unblemished face, while a robe of gentle ruffles lies at his feet.

Thorvaldsen was known for his reliefs as well as his sculptures; the reliefs decorating the present casket are reminiscent of his L'autunno and L'estate in the Thorvaldsens Museum, Copenhagen (see Grandesso, op. cit., p. 104). Thorvaldsen tended to mix reliefs with statuary when working on a grand scale, such as his Monument to Karl Philipp von Schwarzenberg, Monument to Pio VII and Monument to Ercole Consalvi (illustrated in Grandesso, op. cit., pp. 171, 215 and 217).

Miniaturising the Ganymede model and applying Thorvaldsen's specialist combination of sculptural techniques to a portable and decorative ivory casket speaks of the status of the owner, whose means and tastes stretch to experimentation with the preeminent Thorvaldsen.

RELATED LITERATURE
S. Grandesso, Bertel Thorvaldsen (1770-1844), Milan, 2010, pp. 128-131