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A large plaster buste of David after the model by Michelangelo, 1920's/1930's

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  • Large Plaster Bust of a Faun
    Located in Baambrugge, NL
    A plaster model of the head of a faun, ± 1890. The faun depicted as an attractive young man (therefor not a satyr), the head shows small horns and long pointy ears. h 95 x diameter ...
    Category

    Early 20th Century French Busts

    Materials

    Plaster

  • Large Old Polychrome Painted Metal Model of a Lorry
    Located in Baambrugge, NL
    A large model of a lorry made in the second quarter of the 20th century. The cab is red, the body and flatbed maroon, above four spoked wheels. After an American Brockway truck. ...
    Category

    Vintage 1920s European Industrial Toys and Dolls

    Materials

    Metal

  • 19th century wood carving of a male torso
    Located in Baambrugge, NL
    19th century life-size wood carving of a male torso. On a black steel base. h 148 x w 42 x d 33 cm
    Category

    Antique 19th Century French Busts

    Materials

    Wood

  • Monumental Italian Sculpted Limestone Group of Bacchus with a Satyr
    Located in Baambrugge, NL
    The God of wine portrayed nude and standing, a cup in his raised right hand, the infant satyr at his feet, on a rectangular section limestone plinth with moulded upper edges and base...
    Category

    20th Century Italian Statues

    Materials

    Limestone

  • Pair of Antique Carved and Polychrome Decorated Wood Angels / Putti
    Located in Baambrugge, NL
    A pair of extremely fine northern European carved and polychrome decorated figures of angels, probably late 17th century, each portrayed as loosely draped and kneeling amongst clouds...
    Category

    Antique Late 17th Century Austrian Baroque Figurative Sculptures

    Materials

    Wood

  • A pair of 17th century Dutch polychrome painted carved putti/cherubs
    Located in Baambrugge, NL
    A pair of 17th century Dutch polychrome painted carved wooden putti/cherubs. The larger angel in the middle is not included.
    Category

    Antique 18th Century and Earlier Dutch Wall-mounted Sculptures

    Materials

    Wood

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  • Bronze Sculpture Of David By Michelangelo
    Located in Madrid, ES
    Bronze Sculpture Of David By Michelangelo Large patinated bronze sculpture of David by Michelangelo. Excellent condition. 1950s. Dimensions: 84x2...
    Category

    Mid-20th Century Figurative Sculptures

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  • Mounted Greek Plaster Models After the Parthenon Frieze
    Located in Wormelow, Herefordshire
    A collection of Greek style plaster frieze models circa 1820, later framed with glass to the front. Likely once part of a larger sequence, the plaster fragments are highlighted with black paint and depict Greek cavalry similar to that detailed on the famous 6th century BC Parthenon Frieze. The Parthenon Frieze Believed to date from 447 – 432 BC, the Parthenon Frieze is a continuous marble band that once decorated the Parthenon temple, Greece. Dedicated to the goddess Athena, the temple was abundant with decorative sculpture considered some high points of classical Greek art...
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    Antique Early 19th Century English Classical Greek Mounted Objects

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  • Marble sculpture of the dying slave after Michelangelo
    By Michelangelo
    Located in Paris, FR
    Large marble sculpture of the Dying Slave after the original work by Michelangelo (1475-1564) currently in the Louvre Museum. Our example is a late 19th-century Italian work made for...
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    Antique 1880s French Figurative Sculptures

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  • Turn of the Century Metal Sculpture after Michelangelo
    Located in High Point, NC
    This beautifully crafted bronze sculpture evokes the grandeur of Renaissance art. Made in France at the turn of the century, the piece is modeled after Michelangelo’s famous marble s...
    Category

    Antique Early 1900s French Figurative Sculptures

    Materials

    Bronze

  • Rare and important painted bronze Crucifix after a model by Michelangelo
    By Michelangelo Buonarroti
    Located in Leesburg, VA
    A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...
    Category

    Antique 16th Century Renaissance Figurative Sculptures

    Materials

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  • After the Antique, a Large 20th C Plaster Figure of a Discus Thrower
    Located in Bagshot, GB
    After the Antique, a large 20th C plaster figure of a discus thrower 20th century (Pedestal not included), 100cm wide, 42cm deep, 168cm high (39in wide, 16 1/2in deep, 66in high) a...
    Category

    Mid-20th Century European Grand Tour Statues

    Materials

    Plaster

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