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Lot Essay
The present bronze appears to be the only known cast of this composition by the sculptor Antico, apart from a parcel-gilt example with silver inlaid eyes in the Walters Art Gallery in Baltimore (inv. no. 54.1027, see Allison, loc. cit.). The early history of that bronze is unknown, but it was in the collection of Dr. Eduard Simon, Berlin, when his collection was catalogued by M. J. Friedlaender in 1929.
Pier Alari-Bonacolsi (circa 1460-1528) was known as Antico because of his devotion to the sculpture of Antiquity. He may have trained as a goldsmith – which would explain the meticulous finish of his autograph bronzes – and his career centred around the Gonzaga family of Mantua; first under the patronage of Gianfrancesco Gonzaga (1446-1496) and later at the glittering court of Francesco II Gonzaga (1466-1519) and his wife, Isabella d’Este (1474-1539). Many of his small scale bronzes were based upon Antique originals, and were often highlighted with gilded details and silver-inlaid eyes, a practice borrowed from classical prototypes.
In general type, the Venus Caritas is derived from ancient examples of the Venus Pudica. Facially, it is related to Antico’s bust of Cleopatra (see ibid., no. 34, pp. 240-243.) which may be an idealised portrait of Isabella d’Este herself. The slightly more rounded proportions of the Venus Caritas may also allude to Isabella, who was not exceptionally tall.
The fact that the present cast is extremely close in size to the Walters example (46 cm for the latter and 45.5cm for the present example) suggests that they came from the same mould. Although the example offered here does not display the precise chasing associated with Antico and his immediate workshop, casting flaws and general technique would suggest an early date. It may be that the mould for Antico’s Venus was used by a subsequent generation of sculptors or founders in the 16th century to create the present fountain figure, which has had the breasts drilled in order to spout water.
Pier Alari-Bonacolsi (circa 1460-1528) was known as Antico because of his devotion to the sculpture of Antiquity. He may have trained as a goldsmith – which would explain the meticulous finish of his autograph bronzes – and his career centred around the Gonzaga family of Mantua; first under the patronage of Gianfrancesco Gonzaga (1446-1496) and later at the glittering court of Francesco II Gonzaga (1466-1519) and his wife, Isabella d’Este (1474-1539). Many of his small scale bronzes were based upon Antique originals, and were often highlighted with gilded details and silver-inlaid eyes, a practice borrowed from classical prototypes.
In general type, the Venus Caritas is derived from ancient examples of the Venus Pudica. Facially, it is related to Antico’s bust of Cleopatra (see ibid., no. 34, pp. 240-243.) which may be an idealised portrait of Isabella d’Este herself. The slightly more rounded proportions of the Venus Caritas may also allude to Isabella, who was not exceptionally tall.
The fact that the present cast is extremely close in size to the Walters example (46 cm for the latter and 45.5cm for the present example) suggests that they came from the same mould. Although the example offered here does not display the precise chasing associated with Antico and his immediate workshop, casting flaws and general technique would suggest an early date. It may be that the mould for Antico’s Venus was used by a subsequent generation of sculptors or founders in the 16th century to create the present fountain figure, which has had the breasts drilled in order to spout water.