CIRCLE OF DANESE CATTANEO (CIRCA 1509-1572), SECOND HALF 16TH CENTURY

细节

A BRONZE ALLEGORICAL GROUP REPRESENTING CHARITY
CIRCLE OF DANESE CATTANEO (CIRCA 1509-1572), SECOND HALF 16TH CENTURY
The female figure standing in contrapposto, holding one putto in her arms and with another at her feet; on an integrally cast plinth and on a later cylindrical ebonised wood pedestal with the remains of a circular gold label to the reverse indistinctly inscribed 'THE B...NTIQUE DEALERS' ASSOCIATION CERTIFIED FOR CU...P...POSES ... OVER 100 YEARS OLD'; blackish brown patina with warm brown high points; minor cracks to pedestal
10 1/8 in. (25.7 cm.) high; 14 7/8 in. (37.8 cm.) high, overall

来源

Purchased by Alfred (1853-1906) or Otto Beit (1865-1930) between 1904 and 1913.
Thence by descent to Lady (Clementine) Beit (1915-2005) by whom donated to the Alfred Beit Foundation in 2005.

出版

W. Bode, Catalogue of the Collection of Pictures and Bronzes in the Possession of Mr. Otto Beit, London, 1913, p. 115, no. 274, as 'Unknown Venetian artist'.

COMPARATIVE LITERATURE:
W. Timofiewitsch, Girolamo Campagna - Studien zur venezianische Plastik um das Jahr 1600, Munich, 1972, pp. 249-251, no. 9, figs. 34-37.
Padua, Musei Civici, Donatello e il suo tempo - Il bronzetto a Padova nel Quattrocento e nel Cinquecento, 8 Apr. - 15 Jul. 2001, pp. 301-313.

注意事项

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品专文

With its elegant contrapposto and characteristic facial types, this bronze group is immediately recognisable as a product of the artistic world of Venice in the second half of the 16th century. It can be compared to documented groups such as the Dolfin Madonna by Girolamo Campagna (Timofiewitsch, loc. cit.) which displays a similar positioning of the main figure and a comparable treatment of the drapery. Perhaps a more compelling comparison, however, is with another allegorical figure, executed by Campagna's master, Danese Cattaneo, for the tomb of the Doge Leonardo Loredan (illustrated in Donatello, op. cit., p. 307). The treatment of the hands and feet, the heavy-lidded eyes, pointed chin and, particularly, the centrally parted hair drawn into luxuriant curls at the crown of the head are all directly comparable to the present bronze.