ATTRIBUTED TO GIUSEPPE PIAMONTINI (1664-1742), ITALIAN, CIRCA 1690-1710

细节

A BRONZE FIGURE OF APOLLO
Attributed to Giuseppe Piamontini (1664-1742), Italian, circa 1690-1710
Depicted standing in contrapposto with his right arm raised above his head and his left resting on a lyre; on an integrally cast bronze plinth and a rectangular ebony-veneered wood base.
Dark brown patina with chocolate brown high points.
Minor cracks to the base.
12½ in. (31.8 cm.) high
16¾ in. (42.5 cm.) high, overall

出版

COMPARATIVE LITERATURE:
K. Lankheit, Florentinische Barock - Die Kunst am Hofe der letzten Medici 1670-1743, Munich, 1962, pp. 165-8.
F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, no. 7. pp. 146-148, fig. 76.
G. Pratesi, Repertorio della Scultura Fiorentina del Seicento e Settecento, Turin, 1993, I, pp. 55-56, 93-94, III, figs. 401-445.
P. Fusco, Summary Catalogue of European Sculpture in the J. Paul Getty Museum, Los Angeles, 1997, p. 21.

注意事项

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis

拍场告示

Please note the estimate should read £30,000-50,000.

拍品专文

Giuseppe Piamontini dominated the world of late baroque Florentine bronze workers along with Massimiliano Soldani Benzi (see lot 1160) and Giovanni Battista Foggini. Piamontini actually began his career in Foggini's studio, and they were to collaborate on a number of projects together over the years; it is not surprising, therefore, that their styles are very similar, and several works have been disputed in terms of authorship between the two.

The present bronze figure of Apollo is based on an antique marble which was known from at least 1704 (Haskell and Penny, loc. cit.). The figure itself is quite a faithful reproduction of the marble figure, although the author has inevitably left his own stamp on it. However, the artist has replaced a simple tree trunk and quiver in the antique Apollino with the elegant, garland-draped altar and lyre evident here.

Stylistically, the bronze can be compared to a number of other bronzes by - or attributed to- Piamontini. Certainly the boyish body type is echoed in other bronzes such as the Venus of Piamontini's Cupid in the National Gallery, Washington, or the Ganymede in the Ganymede with the Eagle in the Minneapolis Institute of Arts (Pratesi, op. cit., III, figs. 432 and 439). The facial features of the Apollino, with the wide-set almond-shaped eyes and incised pupils, are also highly reminiscent of Piamontini's equestrian portrait of Ferdinando de' Medici in the Prado, Madrid (Pratesi, op. cit., III, fig. 424).