AN AJOUREE GOLD REPOUSSE RELIEF OF THE CALYDONIAN BOAR HUNT
THE PROPERTY OF A GENTLEMAN 
AN AJOUREE GOLD REPOUSSE RELIEF OF THE CALYDONIAN BOAR HUNT

AFTER GUGLIELMO DELLA PORTA, ATTRIBUTED TO ANTONIO GENTILI DA FAENZA (D. 1609), CIRCA 1580-1600

Details
AN AJOUREE GOLD REPOUSSE RELIEF OF THE CALYDONIAN BOAR HUNT
AFTER GUGLIELMO DELLA PORTA, ATTRIBUTED TO ANTONIO GENTILI DA FAENZA (D. 1609), CIRCA 1580-1600
With the hunt scene at centre and Meleager giving the boar head to Atalanta above, in an oval strapwork frame embellished with carnelian cabochons at the corners, all on a lapis lazuli ground and in a later parcel-gilt wood frame; the reverse inscribed 'Cobbet' and 'Cobbart' and with two paper labels each inscribed '85'; minor damages and losses
9 5/8 x 5½ in. (24.5 x 14 cm.)
Provenance
Borghese Collection.
Probably the Geistliche Schatzkammer, Vienna.
Purchased by Dr. Ludwig Burchard (1886-1960), and by descent.
Literature
COMPARATIVE LITERATURE:
L. Planiscig, Die Estensische Kunstsammlung, I, Skulpturen und Plastiken des Mittelalters und der Renaissance, Vienna, 1919, nos. 395-410, pls. 19-26.
E. F. Bange, Die Italienischen Bronze der Renaissance und des Barock, II, Reliefs und Plaketten, Berlin and Leipzig, 1922, nos. 8-13, pp. 2-3, pls 5-6.
Rome, Museo di Palazzo di Venezia, Rilievi e Plachette dal XV al XVIII secolo, Feb. - Apr. 1982, nos. 69-75, pp. 72-76.
P. Malgouyres, Ivoires du musée du Louvre 1480-1850 - une collection inédite, Paris, 2005, nos. 35 and 36, pp. 114-117.

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Giles Forster
Giles Forster

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Lot Essay

This beautifully executed gold repousse relief is one of a set of eight such reliefs which are thought possibly to have adorned a cabinet in the Borghese collection (Bange, op. cit., p. 2). Today, six of the panels - which all represent scenes from Ovid's Metamorphosis - are in the Bode Museum in Berlin, and the remaining example is in the Metropolitan Museum in New York. The present relief was purchased by the well-known Rubens scholar, Ludwig Burchard, before fleeing Germany in the 1930s.

The composition of the eight reliefs in this series were celebrated in the late 16th, 17th and 18th centuries, and were originally created by the Roman sculptor Guglielmo della Porta (d. 1577). Documents suggest that the models, which were listed in an inventory drawn up at the time of della Porta's death, later passed into the hands of the goldsmith Antonio Gentili da Faenza (Malgouyres, op. cit., p. 114) to whom the Metropolitan Museum attributes their relief. The popularity of the compositions meant that they were executed by numerous artists over a long period of time, with examples in bronze, ivory, plaster and other media.

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