18th Century Patinated Bronze Group of Apollo & Daphne

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18th Century Patinated Bronze Group of Apollo & Daphne

About the Item

A Bronze Group Of Apollo & Daphne, Cast From A Model Attributed To Francois Lespingola (1644-1705) France, circa 1780-1790 Note: The base is added in 19th century. (2nd Photo) Christie's 4 MAY - 5 MAY 2011 LIVE AUCTION 1003 Lot Essay The unveiling in 1625 of the marble group of Apollo and Daphne in the Villa Borghese, Rome, caused a sensation and made a European celebrity of its creator, Gianlorenzo Bernini (1598-1680). The scene, emblematic of the victory of Chastity over Love, derives from Ovid's Metamorphoses and describes how Apollo, struck by Cupid's golden arrow, pursues Daphne, who has in turn been struck by Cupid's leaden arrow, which has stirred her to flee. During her pursuit, Daphne prays to her father for salvation and at that moment branches sprout from her arms and roots from her feet and she is eventually transformed into a laurel tree: "a thin bark closed around her gentle bosom, and her hair became as moving leaves; her arms were changed to waving branches, and her active feet as clinging roots were fastened to the ground - her face was hidden with encircling leaves." (Metamorphoses I, 453 ff.) The model upon which the present bronze is based has been variously attributed, to Antoine Coysevox (1640-1720) and Giovanni Battista Foggini (1652-1725). However, recent research has revealed that it is most likely attributable to the French sculptor François Lespingola (1644-1705). In 1665, Lespingola obtained the third sculpture prize at the Acadmie and gained a Royal Scholarship to study at the newly founded French Royal Academy in Rome, in 1666. Unlike most of his contemporaries, who had to make copies of antiquities, Lespingola was also allowed to create his own models. He returned to Paris in 1675 and was admitted to the Acadmie Royale de Peinture et de Sculpture and in 1676 was fully employed in the service of Louis XIV. In this capacity, his main activity was the design and execution of models for many of the largest and most important royal commissions at the Chateau de Versailles and the Invalides. The present bronze depicting Apollo and Daphne is recorded in 1910 as coming from the distinguished Cottreau collection that was sold by Galerie Georges Petit, in Paris, 28-29 April 1910, lot 100. It was later owned by Michel Segoura who subsequently sold it in 1978 to an important private Parisian collector with whom it has resided ever since. Apart from its distinguished provenance, this bronze is exceptional for its outstanding sculptural quality and finesse. It is a perfect example of the type of highly dynamic and complex multi-figural compositions emerging during the French Baroque. Conceived as a fully three-dimensional group, this masterpiece retains a strong its visual impact from every angle. ______________________________________________________________________________ François Lespingola (Joinville, 1644 - Paris, 16 July 1705) was a French sculptor in the team that provided original sculptures, vases and copies after the Antique for the gardens at Versailles. From 1665 until 1675, Lespignola was a student in Rome at the Académie de France. In 1675, he became a member of the Accademia di San Luca. Once he returned to France, Lespingola was received as a member of the Académie royale de peinture et de sculpture in 1676. His main employments were royal works at the Palace of Versailles and elsewhere. The Ludovisi Gaul, then known as Arrius and Paeta was copied by Lespingola in Rome in 1684 for Versailles: it still stands, paired with Laocoön, at the entrance to the Tapis Vert. Lespignola also collaborated on a number of decorative works with Jacques Buirette (1631–99). These include models for trophies as well as the lively group of "Three Children Playing with a Swan" (1685–7). ____________________________________________________________________________ Apollo and Daphne is a transformation myth. No written or artistic versions survive from ancient Greek mythology, so it is likely Hellenistic in origin. It was retold by Roman authors in the form of an amorous vignette. The earliest known source of this myth is Parthenius, a Greek poet who lived during the 1st century BCE, however, the most well-known and lyrical telling was by the Roman poet Ovid in his Metamorphoses (I.438-567), a collection of Greek fables first written in 8 CE. The myth purportedly explains the origin of the laurel tree and its connection to Apollo, although "Apollo was emphatically associated with the laurel before the advent of the Daphne myth." Apollo's priestess employed the use of the leaves at Delphi and they also became the symbol of victory and achievement as laurel wreaths were given to the victors of the Pythian Games. The story generally involves three main players: Apollo (Phoebus) - Greek god of healing, archery, music and arts, sunlight, knowledge, and patron of Delphi. Regarded as a great warrior and as the most beautiful of the gods. Eros (Cupid, Amor) - god of love and sex; also known for his use of bow and arrow. He was often depicted as a winged boy, beginning in the Hellenistic period. Daphne - a naiad (nymph), or huntress of Artemis. Her parentage varies, depending on the source, but it's generally understood that her father is a river god (either Peneus or Ladon) and her mother was either the nymph Creusa or Gaia. As a Roman, Ovid called the gods by their Roman names (i.e. Jupiter and Juno instead of Zeus and Hera). However, despite the Roman counterpart of Apollo sharing the same name, Ovid switches between calling him Phoebus and Apollo. It would seem that this reference is used when referring to Apollo in his role as sun god, since the name is an epithet of his maternal grandmother Phoibe ("the bright one"), but there isn't agreement among scholars on this. Ovid's version Ovid breaks the myth out into five parts, beginning with Apollo slaying the Python and ending with the creation of the Pythian Crown. Ovid's Metamorphoses, tr. Anthony S. Kline version of the story translates it in the following way: Peter Paul Rubens - Apollo and the Python, 1636-1637 Defeat of Python (I:438–472) Apollo and Daphne's story takes place right after the great snake that terrorized mankind is slain by Apollo. Apollo pierced the Python with 1,000 arrows and then founded the sanctuary of Delphi atop of the Python's dead body.[10] This sanctuary became home to the famous oracle, Pythia, and the sacred Pythian Games were held to celebrate his victory. The winners were, at first, honored with oak wreaths, since the laurel didn't yet exist. Afterwards, Apollo spots Eros stringing his bow and comments: "Impudent boy, what are you doing with a man's weapons? That one is suited to my shoulders, since I can hit wild beasts of a certainty, and wound my enemies. You should be intent on stirring the concealed fires of love with your burning brand, not laying claim to my glories!" Eros, angered by Apollo's implication that one god's abilities could be greater or lesser than another's, flies to the peak of Mount Parnassus then draws and fires two arrows: "one kindles love, the other dispels it. The one that kindles is golden with a sharp glistening point, the one that dispels is blunt with lead beneath its shaft. With the second he transfixed [Daphne], but with the first he wounded Apollo piercing him to the marrow of his bones." Apollo sees Daphne (I:473–503) Having taken after Apollo's sister, Artemis (Diana), Daphne spurned her many potential lovers, preferring instead to spend her times in the woods, exploring the forest and hunting. Due to her emulation of Artemis, she had dedicated herself to perpetual virginity. Her father, the river god Peneus, demanded that she get married and give him grandchildren. She, however, begged her father to let her remain unmarried; he eventually complies, but tells her that her beauty makes it impossible to prevent would-be suitors from beckoning to her. As soon as Apollo spots her in the woods he falls in love. His own powers of foresight prevent him from being able to tell the ultimate outcome of his pursuit. He quickly calls and rushes to her, but she immediately flees "swifter than the lightest breath of air and resists his words calling her back again." Apollo pursues and begs Daphne to be with him (I:504–524) Despite her not yet knowing who pursues her, Apollo seems to know exactly who she is, calling, "Wait nymph, daughter of Peneus, I beg you! I who am chasing you am not your enemy." He comments that she is running from him as prey would from a predator, but tells her that he is spurred on by love and a desire to be with her, not destroy her, so she should have pity on him. He then says that he is worried that she will be injured in the chase and cause him guilt, so if she slows down he will too, but she continues. He goes on to finally reveal to her who he is—stating that he's not just some random farmer or shepherd, but rather "Delphi's lands are mine, Claros and Tenedos, and Patara acknowledges me king. Jupiter is my father. Through me what was, what is, and what will be, are revealed. Through me strings sound in harmony, to song." He mentions that, even though he is a master Archer and patron of medicine, "an arrow truer than mine, has wounded my free heart! . But love cannot be healed by any herb." Gian Lorenzo Bernini's Apollo and Daphne. Daphne becomes the laurel (I:525–552) Apollo continually followed her, begging her to stay, but the nymph continued to reject him. They were evenly matched in the race until Eros intervened, urging Apollo on until he is at full speed. He reaches out to grab her, but she manages to escape his grasp and quicken her pace. Eros further assists Apollo by giving him wings, then hangs onto Daphne's shoulders in an attempt to slow her gait. They were soon within sight of her father's waters. Exhausted, overcome by the efforts of her escape, and sensing that she was about to be caught, she ran toward the banks and cried out, "Help me father! If your streams have divine powers change me, destroy this beauty that pleases too well!" No sooner than the cry left her mouth she felt "a heavy numbness seized her limbs, thin bark closed over her breast, her hair turned into leaves, her arms into branches, her feet so swift a moment ago stuck fast in slow-growing roots, her face was lost in the canopy." She had become the laurel tree. (19/08) Apollo honors the laurel (I:553–567) Even in this state, Apollo could not help but love her. He touched the trunk of the tree and could feel her heartbeat. He tried to kiss the bark, but the wood shrank away from him still. In spite of Daphne's clear terror and fervent insistence that he leaves her be, Apollo vowed to honor her forever, "We kiss before we burn. You shall be treasured forever as my now precious tree." He says that he will wear her leaves in his hair, will use her wood to make his bow and lyre, and that a crown made of her branches will adorn the heads of royalty and champions of game and battle. Apollo also used his powers of eternal youth and immortality to render Daphne evergreen, "you also will wear the beauty of undying leaves." The laurel bowed her branches, her leaves seemingly shuddered in surrender. She does not wish to burn with him. .

Dimensions:
Height: 24 in (60.96 cm)Width: 12 in (30.48 cm)Depth: 14 in (35.56 cm)
Materials and Techniques:
Bronze,Marble,Onyx,Cast,Hand-Crafted
Place of Origin:
France
Period:
Late 18th Century
Date of Manufacture:
1780-1790
Condition:
Additions or alterations made to the original: Note: The base is added in 19th Century. Wear consistent with age and use.
Seller Location:
Pasadena, CA
Reference Number:
1stDibs: LU7847234270472