拍品 86
  • 86

Workshop of Laurent Delvaux (1696 - 1778) and Peter Scheemakers (1691 - 1781) Flemish, circa 1718-1728

估價
15,000 - 25,000 GBP
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招標截止

描述

  • Diana Reclining
  • white marble

來源

Christie's London, 14 December 1999, lot 96

Condition

Overall the condition of the marble is very good with dirt and wear to the surface consistent with age. There is some faint veining to the marble consistent with material, most prominently to Diana's proper right thigh and proper right breast. There is dirt to the crevices. There are a few minor inclusions, consistent with the material.
"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."

拍品資料及來源

Diana Reclining compares well to works by Laurent Delvaux and Peter Scheemakers. These two sculptors were in partnership between 1718 and 1728, and together executed a number of notable monuments, several of which are today in Westminster Abbey. During their collaboration, Sheemakers and Delvaux produced several recumbent sculptures in marble of classical and mythological female figures, intended for display locations such as mantelpieces for the English gentry. A marble representation of Ariadne Reclining attributed to Delvaux was sold in these rooms in New York in 2002. The figure shares with the present marble the voluptuous curves and supple looking skin; both women freely slumber with one arm raised above the head and legs casually crossing. The work of the drapery is similar too, crumpling in dense and rhythmic folds. Both sculptures compare similarly to a figure of Ariadne, signed Delvaux, in the Mellon Center, Yale University (see Jacobs, op. cit., no. S16a).

RELATED LITERATURE
A. Jacobs, Laurent Delvaux. Gand, 1696 – Nivelles, 1778, Paris, 1999, pp. 236-238, nos. S14-16a; C. Avery, ‘Laurent Delvaux’s sculpture in England’, Studies in European Sculpture, London, 1981, pp. 237-252, no. 11; R. Gunnis, Dictionary of British Sculptors. 1660-1851, Cambridge, 1954, p. 126