.jpg?w=1)
Lot Essay
The present figure of the Infant Bacchus seated on a wine-barrel almost certainly hails from an antique prototype whose playful subject matter inspired a number of artists to interpret the theme. In 1608 Giambologna exhibited a bronze model of the dwarf Morgante in a similar pose and in the mid 18th century a number of Meissen porcelain modellers produced the model on a grand scale. In considering the composition and style of the present lot, however, it appears that it was conceived in the circle, and most likely even in the workshop, of the great Bavarian-born sculptor Balthasar Permoser (1651-1732).
Permoser was well-known for his large scale sculpture, especially the monumental decoration of the Zwinger in Dresden, however, his oeuvre also consisted in large part of small carved groups, usually made of ivory, inspired by antique prototypes or of mythological subjects. A very interesting comparison can be made between the present lot and Permoser's similarly sized, signed, ivory figure of a Seated child Holding a Skull in a private collection in Niebüll, Germany (see Rasmussen, op. cit., no. 193). Dated to circa 1710 this ivory has a virtually identically carved face with heavily rounded cheeks, small pinched nose and narrow shoulders. Further similarities can also be seen in the carving of the grapes and rendering of the vine-leaves of his Bacchus with infant Satyr in the Kunstgewerbemuseum, Cologne (ibid, no. 189), which was inspired by Michelangleo's Bacchus and yet again demonstrates Permoser's interest in interpreting the works of the great masters.
Permoser was well-known for his large scale sculpture, especially the monumental decoration of the Zwinger in Dresden, however, his oeuvre also consisted in large part of small carved groups, usually made of ivory, inspired by antique prototypes or of mythological subjects. A very interesting comparison can be made between the present lot and Permoser's similarly sized, signed, ivory figure of a Seated child Holding a Skull in a private collection in Niebüll, Germany (see Rasmussen, op. cit., no. 193). Dated to circa 1710 this ivory has a virtually identically carved face with heavily rounded cheeks, small pinched nose and narrow shoulders. Further similarities can also be seen in the carving of the grapes and rendering of the vine-leaves of his Bacchus with infant Satyr in the Kunstgewerbemuseum, Cologne (ibid, no. 189), which was inspired by Michelangleo's Bacchus and yet again demonstrates Permoser's interest in interpreting the works of the great masters.