*Hiram Powers (1805-1873)

PROPERTY OF THE LATE J. PAUL GETTY AND J. PAUL GETTY MUSEUM

细节

*Hiram Powers (1805-1873)

'Proserpine', A White Marble Portrait Bust

signed H. POWERS Sculp.
24¾in. (63cm.) high, including white marble socle

来源

C.R. Christie, London
With Thomas Crowther and Son, London, 1937

出版

L. Taft, The History of American Sculpture, 1969 reprint, pp. 60-61, fig. 6
W. Gerdts, American Neo-Classic Sculpture, New York, 1973, pp. 92-93, fig. 81
R. Wunder, Hiram Powers: Vermont Sculptor, Taftsville, Vermont, 1974
Whitney Museum of American Art, 200 Years of American Sculpture, New York, 1976, p, 41, pl. 7
W. Craven, Sculpture in America, New York, 1984 edition, p. 115
R. Wunder, Hiram Powers: Vermont Sculptor, 1805-1873, Newark, 1991, vol. I, 136-139, 141, 143, 147, 155, 160, 162, 164, 182, 210, 232-233, 237, 239, 241, 253, 275-276, 283, 285, 309, 316, 333, 341, vol. II, pp. 187-204, 254, cat. no. 223, rep. no. 127

展览

Los Angeles County Museum of Art (long term loan)

拍品专文

Proserpine was Powers' second attempt at modelling an ideal bust from his imagination. The first version of the subject, conceived in 1843, depicts the life-size goddess truncated below her breasts and in the middle of her upper arms. The body rose from a shaped basket overflowing with tube-roses and narcissus, the foot of the basket formed as the socle of the bust. The carving of the basket and flowers proved too labor intensive and expensive for atelier carving and the sculptor was forced to rework the model several times, finally substituting a border of leaves and a turned socle for the basket. Proserpine became "the most favored single piece among Powers' work and it was copied more times than any other work ever produced by an American sculptor." (Wunder, 1974, p. 18)

*This lot may be exempt from sales tax, as set forth in the Sales Tax Notice at the front of this catalogue.