A CARVED WOOD AND POLYCHROME-DECORATED CENTAUR
PROPERTY FROM THE ESTATE OF ALASTAIR BRADLEY MARTIN, INCLUDING WORKS FROM THE GUENNOL COLLECTION
A CARVED WOOD AND POLYCHROME-DECORATED CENTAUR

ATTRIBUTED TO MR. DINES, UTICA, NEW YORK, MID-19TH CENTURY

細節
A CARVED WOOD AND POLYCHROME-DECORATED CENTAUR
ATTRIBUTED TO MR. DINES, UTICA, NEW YORK, MID-19TH CENTURY
22¼ in. high, 9.5 in. wide, 24½ in. deep
出版
The Metropolitan Museum of Art, The Guennol Collection (New York, 1982), vol. 2, pp. 230-232.
Herbert W. Hemphill, Jr., ed., Exhibition catalogue, Folk Sculpture USA, New York, The Brooklyn Museum and Los Angeles, The Los Angeles County Museum of Art, 1976, pp. 16-17.
Adele Earnest, Folk Art in America: A Personal View (Exton: Pennsylvania, 1984), p. 71.
展覽
New York, Brooklyn Museum of Art, Folk Sculpture USA, March 6-May 31, 1976
Los Angeles, The Los Angeles County Museum of Art, July 4-August 29, 1976

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拍品專文

In the 1982 Metropolitan Museum of Art exhibition catalogue of the Guennol Collection, Adele Earnest notes that, "Scholars generally agree that the mythological Centaur, half man and half horse, was probably inspired by the wild horsemen of Thessaly who joined the Persian invasion of the Peloponnesus and rode with such terrifying speed the Greeks thought that horse and man were one. Whatever the origin, the Centaur as a theme has survived in fine art and in the popular arts throughout the centuries. The Guennol Collection includes a nineteenth-century American interpretation. Found in Utica, New York, the carving is attributed to a Mr. Dines, who, according to local sources, carved and painted it for his grandson" (p. 230).