ATTRIBUTED TO FRANCESCO PENSO, KNOWN AS CABIANCA (VENICE 1665-1737)
ATTRIBUTED TO FRANCESCO PENSO, KNOWN AS CABIANCA (VENICE 1665-1737)
ATTRIBUTED TO FRANCESCO PENSO, KNOWN AS CABIANCA (VENICE 1665-1737)
ATTRIBUTED TO FRANCESCO PENSO, KNOWN AS CABIANCA (VENICE 1665-1737)
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PROPERTY FROM A PRIVATE COLLECTION
ATTRIBUTED TO FRANCESCO PENSO, KNOWN AS CABIANCA (VENICE 1665-1737)

A bearded man in profile, probably a philosopher

Details
ATTRIBUTED TO FRANCESCO PENSO, KNOWN AS CABIANCA (VENICE 1665-1737)
A bearded man in profile, probably a philosopher
marble relief; on a modern black velvet stand
15 1⁄8 x 12 7⁄8 in. (38.5 x 31.5 cm.), the relief
Literature
COMPARATIVE LITERATURE
C. Semenzato, La Scultura Veneta del Seicento e del Settecento, Venice, 1966, pp. 40-42, nos. 98-101.
A. Nava Cellini, La Scultura del Settecento, Turin, 1982, pp. 159-160.
A. Bacchi, ed., La scultura a Venezia da Sansovino a Canova, Milan, 2000, pp. 711-713, nos. 294-306.
G. Pavanello, ed., La Scultura Veneta del Seicento e del Settecento: Nuovi Studi, Venice, 2002, pp. 81, 286 and 356.

Brought to you by

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Day Sale

Lot Essay

Francesco Cabianca was born in Venice as Francesco Penso but later adopted his first wife’s surname, by which he is now known. He trained initially with sculptor Michele Fabris (known as l'Ongaro) and later with Giusto Le Court. Cabianca’s first known autonomous work is the signed figure of Antinous housed at Palazzo Corner, Venice. Another signed bust, depicting a philosopher, which now adorns the portego of the palazzo, bears stylistic similarities with the present lot. Another comparable work is the figure of Saint Christopher that he completed for the eponymous church in Udine. Both share similar treatment of the beard and eyes to the present lot.

Around 1698, Cabianca travelled to Dalmatia, completing commissions for ecclesiastical buildings in Ragusa and Kotor. Returning to his native Venice after approximately a decade, he continued his sculptural practice, including a series of reliefs for the Basilica di Santa Maria Gloriosa dei Frari. Cabianca also received international commissions, completing three standing figures of Vertumnus, Pomona, and Saturn for Peter the Great’s Summer Garden, St Petersburg, by April 1717.

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