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Lot Essay
This bronze is modeled after a Roman marble dating from about 200 AD, now in the Museo Nazionale, Naples, which is in turn derived from a 4th century BC original, possibly by the sculptor Lyssipus. The Roman sculpture was discovered in the Baths of Caracalla in Rome in 1546 and was acquired by Pope Paul III Farnese, hence the name 'Farnese Hercules'. Importantly, in the present context, other versions of the marble were known from as early as 1503 (Camins, op. cit., p.36). The sculpture was displayed by the Farnese family in the arcade around the courtyard of the Farnese Palace in Rome. The present bronze is a reinterpretation of the Roman sculpture, which was frequently used as a model for reduced scale bronzes.
The attribution of this bronze to the Venetian sculptor and medalist Vittore Gambello, called Camelio (circa 1455/60-1537) was made by comparison with the figure style of two signed reliefs depicting The Battle of the Giants (Ca d’Oro, Venice) that Camelio made for his own tomb and his brother Baiamonte in the church of the Carità, Venice. The figures on these reliefs present similar proportions, facial types and treatment of the hair to the present Hercules. A figure of Hercules from the Ashmolean Museum, London, shows comparable features and was first attributed to Camelio by Pope-Hennessy (loc. cit.), after having been attributed to the goldsmith Francesco da Sant’ Agata by Bode. In his recent book Jeremy Warren (loc. cit.) agrees with the attribution to Camelio of the Ashmolean bronze. The present bronze is certainly a very early representation, attesting to the fame and popularity of the antique marble after it was discovered in 1546.
The attribution of this bronze to the Venetian sculptor and medalist Vittore Gambello, called Camelio (circa 1455/60-1537) was made by comparison with the figure style of two signed reliefs depicting The Battle of the Giants (Ca d’Oro, Venice) that Camelio made for his own tomb and his brother Baiamonte in the church of the Carità, Venice. The figures on these reliefs present similar proportions, facial types and treatment of the hair to the present Hercules. A figure of Hercules from the Ashmolean Museum, London, shows comparable features and was first attributed to Camelio by Pope-Hennessy (loc. cit.), after having been attributed to the goldsmith Francesco da Sant’ Agata by Bode. In his recent book Jeremy Warren (loc. cit.) agrees with the attribution to Camelio of the Ashmolean bronze. The present bronze is certainly a very early representation, attesting to the fame and popularity of the antique marble after it was discovered in 1546.