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Edimbourg, Londres, Vienne, Royal Scottish Museum, Victoria and Albert Museum, et Kunsthistorisches Museum, Giambologna 1529-1608 Sculptor to the Medici, 19 aout. - 10 sep. 1978 et 2 dec. 1978 - 28 jan. 1979, C. Avery et A. Radcliffe eds., p. 192, no. 178.
C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, no. 144, p. 270.
New York, GIAMBOLOGNA - An Exhibition of his sculpture by the master and his followers - From the collection of Michael Hall Esq, 6 mar. - 4 avr. 1998, C. Avery ed., pp. 124-5, no. 43.
Post Lot Text
A BRONZE MODEL OF A PACING BULL
AFTER GIAMBOLOGNA, FLORENCE, FIRST HALF 17TH CENTURY
On a modern rectangular slate base; golden brown lacquer with traces of a darker patina; minor scratches and restorations
The renaissance interest in depicting images of the domestic bull took as its inspiration various antique prototypes. In his book on the sculptor Giambologna, Charles Avery suggests that his Bull was modelled after antique bovine sculptures, although no specific sculptural source can be cited (Avery, 1987, op. cit. p. 56).
Giambologna produced a small wax model of a bull that was probably cast and finished in the workshop of Antonio Susini. Various examples of bulls were produced as a result of this collaboration, including one in the Smith College Museum of Art, Massachusetts (Avery and Radcliffe, loc. cit.) that relates very closely to the present lot. They are represented in a virtually identical pose and with very similar modelling to the body.