A SILVER FIGURE OF ST. SEBASTIAN
A SILVER FIGURE OF ST. SEBASTIAN

CIRCLE OF PIETRO TACCA, FIRST HALF 17TH CENTURY

細節
A SILVER FIGURE OF ST. SEBASTIAN
CIRCLE OF PIETRO TACCA, FIRST HALF 17TH CENTURY
Formerly supported by a tree
18½ in. (47 cm.) high
來源
Private Collection, New York.
Art Market, New York.
展覽
The Minneapolis Institute of Arts, 1975-1982.
C. Avery and M. Hall, Giambologna: An Exhibition of Sculpture by the Master and his Followers from the Collection of Michael Hall, Esq., Salander O'Reilly Galleries, New York, 1998, no. 31.
Giambologna and his Followers: Sculpture from the Collections of Michael Hall, Miami-Dade College Museum of Art, Freedom Tower, 9 October 2009-20 February 2010.

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拍品專文

COMPARATIVE LITERATURE:
J. Hecht, Liechtenstein: The Princely Collections, exh. cat., New York, 1985, no. 48.
F. Scholten and M. Verber, From Vulcan's Forge: Bronzes from the Rijksmuseum, Amsterdam 1450-1800, exh. cat., London, 2005, no. 22.

This expressive silver figure, as was noted in the 1998 catalogue, has an overall flat linear construction and is, in many respects, an almost painterly image (Avery, op. cit.). Despite this, however, equal attention has been paid to the anatomy of the front and back of the figure.

While there are about twenty different casts of this model of St. Sebastian, the Hall version is probably the only silver one, as Scholten notes, as most are bronze (op. cit.). These versions vary only slightly, with the main differences being that some have no loin cloth and show no wounds. This model has been attributed to several early 17th century sculptors, but the consensus seems to have settled on Tacca. As Scholten also notes, the high number of surviving versions indicate a large, successful workshop and the smooth, clean modelling of the body, the facial features and hair all recall other works by Tacca (op. cit.).