Early 18th Century Sculptures
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Period: Early 18th Century
After Giambologna Bronze of Mercury with green patina
By Giambologna
Located in New York, NY
Mercury, circa 1700s. Bronze with green patina. Height with base: 58 cm (22 7/8 in.)
Category
Baroque Early 18th Century Sculptures
Materials
Bronze
Bronze of Pluto Abducting Proserpine after François Girardon
Located in New Orleans, LA
After François Girardon
1628-1715 French
Pluto Abducting Proserpine
Bronze
This High Baroque period composition captures the famed narrative of Pluto and Proserpine from Roman mythology. The late 17th-century patinated bronze, created after François Girardon's marble composition, captures the very moment that Pluto seizes Proserpine. The anguished goddess reaches skyward, attempting to escape the god’s grasp while Pluto’s stoic face betrays his knowledge that his ploy will succeed. This pivotal moment in the mythological tale has captured the imagination of many art historical greats, from Bernini to Rubens. François Girardon’s version of the climax demonstrates incredible finesse and artistry, modeled expertly in bronze in the present work by a later sculptor. The statue brings a twist of intertwined bodies into a dynamic frenzy, paralleling the tension of the legendary story.
In ancient Roman mythology, Proserpine, the beautiful daughter of Ceres — known as Persephone in Greek mythology — was picking flowers in the fields when she was suddenly abducted by Pluto, the god of the underworld, and taken to his kingdom. Consumed with grief, her mother Ceres, the goddess of agriculture, scorches the earth, stopping the growth of grain and fruit. Jupiter attempts to intervene and secure Proserpine’s return to earth, negotiating a compromise with Pluto and the Fates that allows Proserpine to be released for part of the year before returning to Pluto’s underworld. Proserpine’s journey back and forth is an allegory for the changing seasons; when Prosperine is with her mother, the earth warms and provides bountiful harvests. Upon her annual return to the underworld, however, the earth once again becomes cold and barren.
After returning to France after years of training in Rome, François Girardon quickly rose to become one of the greatest artists in France. He was elected a member of the Académie Royale de Peinture et de Sculpture in 1657 and would become Chancellor of the Royal Academy in 1695. The artist was approached frequently for royal commissions and Girardon’s Pluto was originally commissioned by Louis XIV for the gardens at his Palace of Versailles. It was one of four monumental marble groups intended to decorate the corners of Charles Le Brun’s never completed garden at the chateau, the Parterre d’Eau. Each group of three figures symbolized one of the four elements: earth, air, fire and water. Pluto’s association with hell made him the apt...
Category
Baroque Early 18th Century Sculptures
Materials
Bronze
Just A Little Tipsy (MADE TO ORDER) (Sabbath, Kiddush, Unique, Gold Luster)
Located in Kansas City, MO
(MADE TO ORDER) (Sabbath, Kiddush, Unique, Gold Luster)
*Lead Time may vary between 1-3 weeks
Melanie Sherman
"Just A Little Tipsy"
Year: 2021
Porcelai...
Category
Rococo Early 18th Century Sculptures
Materials
Luster, Porcelain, Glaze
Silver and Transitional Andean Textile Casket
Located in New York, NY
Silver was the material of choice for both ecclesiastical and domestic vessels in the New World, not only for its status as a precious metal, but also because of its abundance and du...
Category
Early 18th Century Sculptures
Materials
Silver
Large, 18th Century, Painted Santos Figure
Located in Los Angeles, CA
Hand-carved and painted, polychrome, Roman Santos figure in mid-stride. The figure wears stylized, flowing robes and stands atop a period base.
Category
Early 18th Century Sculptures
Materials
Paint, Wood
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Brooch Oiseau (Bird) Zamak, gold tone finished, nickel free (Incised Signature)
Located in New York, NY
Niki de Saint Phalle
Brooch (Oiseau), ca. 2005
Zamak, gold tone finished, nickel free (Incised Signature)
Incised signature on the back of the jewelry (Niki De Saint Phalle) and the clasp (Niki).
2 3/10 × 1 3/5 inches
Authorized by the Estate of Niki de Saint Phalle!
This colorful, whimsical piece - "Oiseau" (Bird) can be worn both as a brooch and as a necklace. Bears the Niki de Saint Phalle's incised signature. Collectible work. Makes a terrific gift.
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Childhood
Niki de Saint Phalle was born in France in 1930 to an aristocratic Catholic family. She had an American mother, a French banker father, four siblings, and grew up bilingual in French and English. Her father lost his wealth during the Great Depression and the family moved to the US in 1933, where Saint Phalle attended Brearley School, a girls' school in New York City. Saint Phalle reported later in her life, in an autobiography titled Mon Secret (1994), that her father had sexually abused her from age 11.
From an early age, Saint Phalle pushed boundaries in her artistic and personal life. Though she found Brearley School to be a formative experience, later claiming that it was there she became a feminist, she was expelled for painting the fig leaves covering the genitals of statues on the school's campus red. She then attended Oldfields School in Maryland, graduating in 1947. As a young woman, Saint Phalle also worked as a model, appearing on the front covers of Life Magazine and Vogue.
When she was 18, Saint Phalle eloped with Henry Matthews, an author and childhood friend. While Matthews studied music at Harvard University, Saint Phalle began to explore painting, and gave birth to her daughter Laura in 1951, when she was 20 years old.
Early Training and work
In 1952, the Matthews and Saint Phalle moved to Paris, where he continued to study music and Saint Phalle studied theater. The couple traveled extensively in Europe, gaining exposure to art by the Old Masters. The following year, Saint Phalle was diagnosed with a "nervous breakdown" and hospitalized in a psychiatric facility. She was encouraged to paint as a form of therapy, and consequently gave up her theater studies in favor of becoming an artist.
The couple moved to Mallorca off the coast of Spain, where their son Philip was born in 1955. During this time, Saint Phalle developed her imaginative, self-taught style of painting, experimenting with a variety of forms and materials. She also discovered the architecture of Antonio Gaudi, which had a strong influence on her work. Gaudi's Park Guell in Barcelona was instrumental in Saint Phalle's early conceptualization of the elaborate sculpture garden she would fulfill much later in her career.
Mature Period
At the end of the 1950s, Saint Phalle and her husband moved back to Paris. In 1960, however, the couple separated and Saint Phalle moved to a new apartment, established a studio, and met artist Jean Tinguely, with whom she would collaborate artistically. Within a year, they had moved in together and begun a romantic relationship.
Saint Phalle became part of the Nouveau Réalisme movement along with Tinguely, Yves Klein, Arman and others. She was the only woman in the group. Her first solo exhibition in 1961 punctuated a dynamic period of Saint Phalle's early career, and she met a number of influential artists living in Paris at the time, such as Robert Rauschenberg and Jasper Johns, whose use of found objects was to have a strong influence on Saint Phalle's work. She was also friendly with Marcel Duchamp, who first introduced her and Tinguely to Salvador Dalí. The three artists traveled to Spain together to an event celebrating Dali's work, in which a life-sized bull sculpture was detonated with fireworks.
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