A BRONZE GROUP OF ATALANTA AND MELEAGER
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A BRONZE GROUP OF ATALANTA AND MELEAGER

ATTRIBUTED TO FRANCESCO FANELLI, FIRST HALF 17TH CENTURY

Details
A BRONZE GROUP OF ATALANTA AND MELEAGER
ATTRIBUTED TO FRANCESCO FANELLI, FIRST HALF 17TH CENTURY
Depicting Meleager returning to Atalanta who is seated on a rocky outcrop; with Cupid and a dog to one side and Meleager's dog and the Calydonian boar in the foreground; inscribed in red underneath with the inventory number '294'; blackish brown patina with medium brown high points
6¼ in. (15.9 cm.) high
Provenance
Purchased by Alfred Beit (1853-1906) by 1904.
Thence by descent to Lady (Clementine) Beit (1915-2005) by whom donated to the Alfred Beit Foundation in 2005.
Literature
W. Bode, The Art Collection of Mr. Alfred Beit at His Residence 26 Park Lane London, Berlin, 1904, as 'Unknown Italian artist of the 16th or 17th century'.
W. Bode, Catalogue of the Collection of Pictures and Bronzes in the Possession of Mr. Otto Beit, London, 1913, p. 118, no. 294, as 'Italian'.
W. Bode, The Italian Bronze Statuettes of the Renaissance, ed. and rev. by J. Draper, New York, 1980, p. 108, pl. CCXXIX.
Special notice
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.

Lot Essay

The scene represented here is from Greek mythology. Meleager's father had angered the goddess Juno and she sent a wild boar to terrorise the countryside as punishment. Meleager and his companions set out to hunt it and when it was finally killed the hero presented it to the virgin huntress Atalanta, whom he loved. Here the goddess turns to embrace Meleager while Cupid sits at her side with his bow at Venus' feet. Hunting dogs complete the scene with the boar lying in the foreground.
Although not among the models listed by Pope-Hennessy in his pioneering article on Francesco Fanelli (loc. cit.), it shares many characteristics with other firmly attributed groups. In particular the figure of Atalanta is directly comparable with the figure of Deianira in the group of Nessus and Deianira being offered as lot 191, and the waxy treatment of the surface and patination are also entirely consistent with known works by Fanelli.

For a general discussion of the Fanelli bronzes in the Beit collection, see the pre-lot text to lot 172.

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