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Lot Essay
The present figure, better known as the Capitoline Antinous is modelled on the antique prototype which is housed in the Capitoline Museum, Rome, and first recorded in Cardinal Albani's collection of 1733. Dated as a Hadrianic copy of an original model from the fourth century BC, the Antinous was considered by many, including the eminent painter Nicolas Poussin, as being the 'canon or rule of symmetry'.
Since its discovery, a number of reproductions in bronze, marble and plaster are known to have been made, most notably by Francesco Righetti and Giacomo Zoffoli who both specialised in small-scale 'classicising' bronzes to cater for the tourist trade in Rome during the late 18th and early 19th centuries.
Of particular interest on this figure is the signature to the reverse, which identifies Righetti and 'ALOYS' as the authors of the bronze. While signed sculptures by the former are not uncommon, two other bronzes have appeared on the art market (Sotheby's, 21 April and 7 July 1994, lots 84 and 98 respectively) bearing the signature 'FR RIGHETTI ET ALOYS FIL FEC ROM'. The inclusion of the word 'FIL' would suggest Aloys was a son of the artist, and while the master's sons were known to have worked with their father, they were called Luigi (1780-1852) and Francesco the younger (b. 1805).
Since its discovery, a number of reproductions in bronze, marble and plaster are known to have been made, most notably by Francesco Righetti and Giacomo Zoffoli who both specialised in small-scale 'classicising' bronzes to cater for the tourist trade in Rome during the late 18th and early 19th centuries.
Of particular interest on this figure is the signature to the reverse, which identifies Righetti and 'ALOYS' as the authors of the bronze. While signed sculptures by the former are not uncommon, two other bronzes have appeared on the art market (Sotheby's, 21 April and 7 July 1994, lots 84 and 98 respectively) bearing the signature 'FR RIGHETTI ET ALOYS FIL FEC ROM'. The inclusion of the word 'FIL' would suggest Aloys was a son of the artist, and while the master's sons were known to have worked with their father, they were called Luigi (1780-1852) and Francesco the younger (b. 1805).