Francesco (1577) Fanelli Sold at Auction Prices

FRANCESCO FANELLI (FLORENCE, 1577-APRÈS 1657) Cheval au trot à la longue cr

FRANCESCO FANELLI (FLORENCE, 1577-APRÈS 1657) Cheval au trot à la longue crinière Le bronze : H. 15,6 cm (6 1⁄8 in.)

Francesco Fanelli, 1577 Florenz – um 1657 Paris, zugeschrieben

HERKULESKNABE ALS SCHLANGENBEZWINGER Höhe: 23 cm. Breite: 13 cm. Gesamthöhe inkl. Holzsockel: 31 cm. Auf runder Plinthe. Bronzeguss, schwarz patiniert. Bronzefigur, die das antike Thema aufgreift, wonach der Halbgott Herkules, Sohn des Zeus und der Alkmene, bereits als Kind zwei Schlangen erwürgte, die von der eifersüchtigen Gattin des Zeus in seine Kinderstube schaffen ließ. Das mythologische Thema ist seit der Antike in zahllosen Werken aufgegriffen worden. So auch von dem Florentiner Bildhauer Fanelli, der in Italien, vor allem Genua, dann aber auch in London gewirkt hat, hoch geschätzt vom Hof König Karls I. Als Sohn eines Bildhauers war er vor allem von Giambologna und dessen Schüler Pietro Francavilla und Pietro Tacca beeinflusst, sämtlich Vertreter des Manierismus. Giovanni Bandini bezeichnete Fanelli als seinen Assistenten bei der Schaffung einer Statue von Großherzog Ferdinand I 1599. Neben großen Aufträgen, wie etwa Brunnenfiguren im Hampton Court Palace, galt ein Großteil seines Wirkens den Sammlerbronzen. Zu der hier vorliegenden Bronze ist eine weitere, leicht abgewandelte Version bekannt, bei der Herkules direkt nach oben zum Kopf der Schlange blickt. Zweifellos hat bei der Gestaltung der Fund der antiken Marmorgruppe des Laokoon eine Rolle gespielt, der ebenfalls die Schlange hochhält. Die Zuweisung des Modells an Fanelli erfolgte zuerst in den 1980er-Jahren durch Charles Avery und Anthony Ratcliffe, nach dem Gussexemplar in der Sammlung Baron Hatvany. Dabei wurde ein Zusammenhang mit einer Zeichnung mit Darstellung eines Brunnens mit der Herkulesfigur gesehen, abgebildet in „Varie Architecture“ von 1661, in Bezug auf Königin Henrietta-Marias Palast in Wimbledon, begonnen 1639. Exemplare befinden sich im Kunsthistorischen Museum, Wien, im Louvre (Inv.Nr. 33540); ein ähnliches im Ashmolean Museum, Oxford. A.R. Literatur: Varie Architekture, Francesco Fanelli, florentinischer Bildhauer des Königs von Großbritannien, ca. 1620-1665, mit einundzwanzig Tafeln gestochen von William Faithorne, in Paris 1661. Franca Franchini Guelfi, Fanelli Francesco, in: Dizionario Biografico degli Italiani, Bd. 44, 1994. (1391432) (11) Francesco Fanelli, 1577 Florence – ca. 1663 Paris, attributed THE INFANT HERCULES STRANGLING SERPENTS Height: 23 cm. Width: 13 cm. Total height incl. wooden base: 31 cm. On round plinth. Bronze casting with black patina. The discovery of the ancient marble group of Laocoon, which also holds up the serpent, undoubtedly inspired the present design. The model was first attributed to Fanelli by Charles Avery and Anthony Ratcliffe in the 1980s, based on the casting held at the Baron Hatvany collection. A connection was seen with a drawing depicting a fountain with the figure of Hercules, shown in Varie Architecture from 1661, in reference to Queen Henrietta-Maria´s palace in Wimbledon, commenced in 1639. Examples are held at the Kunsthistorisches Museum in Vienna, at the Louvre (inv. 33540) in Paris and a similar example at the Ashmolean Museum, Oxford.

Trotting horse after Francesco Fanelli (1577 - after 1657)

Chased and patinated bronze. Born in Florence, Francesco Fanelli (1577 - after 1657) learned sculpture and bronze casting in the studio of Giambologna, Pietro Francavilla and Pietro Tacca. He probably stayed in London from 1610 to 1642. During this time he advanced to become the "sculptor of the King".

Francesco Fanelli (Firenze, 1577-Parigi?, 1663) (school of) Cupid riding on a dolphin

Francesco Fanelli (Firenze, 1577-Parigi?, 1663) (school of) Cupid riding on a dolphinProbably 17th century Bronze, natural brown patina on dark brown coating Overall 14,5x14,5x10 cm Bronze 11x10,5x8,5 cmCupid riding on a dolphin, with a mace in his right hand while with his left hand he holds wide open dolphin’s jaws, which, exhibiting the teeth, resembles a fierce aquatic monster. Splendid transparent brown patina with traces of an artificial dark brown patina. An identical model preserved in the Civic Museums of Padua is attributed to workshop of Niccolò Roccatagliata. This could be an alternative attribution of our bronze even though in the recent scholarship similar bronzes are assigned to the workshop of Fanelli. BibliographyDavide Banzato and Francesca Pellegrini, Musei Civici di Padova, Bronzi e Placchette, Editoriale Programma, Padova, 1989, p.110-111. 

Francesco Fanelli (Firenze, 1577- Parigi? 1663) (school of) Prancing Horse

Francesco Fanelli (Firenze, 1577- Parigi? 1663) (school of) Prancing Horse17th-18th century  Bronze, with golden brown patina on traces of dark brown patina, some verdish patina Overall 30,5x18x8,5 cm Bronze 17,5x18x6,5 cm This sculpture derives from the models of Francesco Fanelli, the Florentine artist who worked in Genoa and later in London, where his works were appreciated by Charles I. Beautiful casting with transparent patina, the horse body is well worked and polished. The snout and mane nervous and well modeled. The bronze base was probably added later, together with the green marble pedestal. It has a similar patina overall. 

Francesco Fanelli, 1577 – um 1657, Art des

TISCHBRONZE EINES TURKMENISCHEN REITERS Höhe: 22 cm. Länge: 21 cm. Gesamthöhe mit späterem Holzsockel: 29 cm. Bronzeguss in Kaltarbeit nachziseliert, feuervergoldet. Auf einem Pferd nach links reitend, die Körperhaltung geduckt und nach rückwärts gewandt, in der typischen, in europäischen Heeren gefürchteten Kampfweise der mongolischen Bogenschützen, die nach dem Pfeilschuss sofort aus der Frontlinie zurückreiten. Entsprechende Kleidung mit Kappe und aufgebogenen Schuhspitzen sowie dem volkstypischen Bart. (12912417) (11)

PAIRE DE MODÈLES EN BRONZE REPRÉSENTANT DES CHEVAUX CABRÉS - ENTOURAGE DE FRANCESCO FANELLI (VERS 1580-1661), ITALIE OU ANGLETERRE, XVIIE

PAIRE DE MODÈLES EN BRONZE REPRÉSENTANT DES CHEVAUX CABRÉS ENTOURAGE DE FRANCESCO FANELLI (VERS 1580-1661), ITALIE OU ANGLETERRE, XVIIE H.T.: 21.5 cm. (5 1/3 in.) ; H.: 16.5 cm. (6 ½ in.) ; L.: 18 cm. (7 in.) ; P.: 7 cm. (2 ¾ in.)

FRANCESCO FANELLI (1577-AFTER 1642) ANGLO-ITALIAN, 17TH CENTURY | Saint George and the Dragon and a Horse being attacked by a Lion

Horse and Lion inscribed:  y horse x Lyon in black ink on the base

MANNER OF FRANCESCO FANELLI (1577-1657): CUPID ON HORSEBACK

MANNER OF FRANCESCO FANELLI (1577-1657): CUPID ON HORSEBACK Bronze, unmarked, raised on a marble plinth. 6 1/2 x 8 3/4 x 4 in. Provenance: J.J. Klejman, NY, 1966.

FRANCESCO FANELLI (1577-AFTER 1642) ANGLO-ITALIAN, 17TH CENTURY | Plaque with a recumbent Lion

gilt bronze, within an early 19th-century glazed wood circular case

ATTRIBUTED TO FRANCESCO FANELLI (ITALIAN, 1577-1657): A MID 17TH CENTURY FIGURE OF A FEMALE RECLINING NUDE leaning on a rocky outcrop draped with a cloak, looking over her right shoulder,  12cm high x 17cm wide PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include ‘Florentine Renaissance Sculpture’, 1970, ‘Giambologna the Complete Sculpture’, Phaidon, 1987, ‘Donatello: An Introduction’, John Murray, 1994; ‘Bernini, Genius of the Baroque’, Thames and Hudson, 1997 (paperback, 2006),  and ‘The Triumph of Motion: Francesco Bertos’, 2008. Purchased by Dr Avery from the Adams Collection, Bonhams, 23 May 1996, lot 55.  This unusual, portrait like statuette was previously thought to have been associated with the work of Guglielmo della Porta. A red wax relief by Della Porta and Manno Sbarri (Florence, 1494-1553) depicting the Infant Hercules includes a similar nude female figure in kneeling position over a draped raised surface (see Trinity Fine Art exhibition, New York, 2009, no. 5). However the coiffure modelled in the present statuette is consistent with the 1630's and the casting recalls the technique of Fanelli.

ATTRIBUTED TO FRANCESCO FANELLI (ITALIAN, 1577-1657): A MID 17TH CENTURY FIGURE OF A FEMALE RECLINING NUDE leaning on a rocky outcrop draped with a cloak, looking over her right shoulder,  12cm high x 17cm wide PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include ‘Florentine Renaissance Sculpture’, 1970, ‘Giambologna the Complete Sculpture’, Phaidon, 1987, ‘Donatello: An Introduction’, John Murray, 1994; ‘Bernini, Genius of the Baroque’, Thames and Hudson, 1997 (paperback, 2006),  and ‘The Triumph of Motion: Francesco Bertos’, 2008. Purchased by Dr Avery from the Adams Collection, Bonhams, 23 May 1996, lot 55.  This unusual, portrait like statuette was previously thought to have been associated with the work of Guglielmo della Porta. A red wax relief by Della Porta and Manno Sbarri (Florence, 1494-1553) depicting the Infant Hercules includes a similar nude female figure in kneeling position over a draped raised surface (see Trinity Fine Art exhibition, New York, 2009, no. 5). However the coiffure modelled in the present statuette is consistent with the 1630's and the casting recalls the technique of Fanelli.

FRANCESCO FANELLI (1577-AFTER 1642) ANGLO-ITALIAN, 17TH CENTURY | Saint George and the Dragon and a Horse being attacked by a Lion

Horse and Lion inscribed: y horse x Lyon in black ink on the base

HERCULE ENFANT COMBATTANT LES SERPENTS

HERCULE ENFANT COMBATTANT LES SERPENTS D'après un modèle de Francesco FANELLI (1577-1661/64) Italie, seconde moitié du XVIIe siècle MATÉRIAUX Bronze à patine brun nuancé Socle en marbre rouge griotte et bronze doré H. 22 cm, L. 13 cm, P. 11 cm Socle : H. 10 cm, diam. 16 cm A SECOND HALF OF 17TH CENTURY ITALIAN PATINATED BRONZE OF HERCULES AS A CHILD FIGHTING SNAKES After a model by Francesco FANELLI (1577-1661/64) 8.66 in. high, 5.11 in. wide, 4.33 in. deep Base: 3.93 in. high, 6.29 in. diam. Cette sculpture en bronze représente Hercule, encore enfant, luttant avec les serpents envoyés par Junon pour le tuer. Celuici, déjà doté d'une force prodigieuse comme le montre sa puissante musculature, parvint à étouffer ses assaillants monstrueux, d'une seule main. Ce bronze, peut-être issu directement de l'atelier de Francesco Fanelli, tire l'originalité de sa composition de dessins réalisés par ce grand maître bronzier du XVIIe siècle, né à Florence, actif à Gênes et qui voyagea jusqu'en Angleterre pour se mettre au service du Roi Charles Ier. Le Musée du Louvre conserve un dessin de la main de Fanelli pour un projet de fontaine en bronze au centre de laquelle Hercule adopte une position similaire à notre oeuvre, agenouillé, le dos cambré vers l'arrière, regardant le serpent qui s'enroule autour de son bras. La grande expressivité qui se dégage du visage d'Hercule se retrouve dans un bronze similaire à celui que nous présentons et conservé au Fitzwilliam Museum de Cambridge. Attribué à l'artiste, cet exemplaire aurait été fondu lors de son séjour en Angleterre en 1641. Léo Planiscig, dans son ouvrage « Piccoli bronzi italiani del rinascimento », Milan, 1930, pl. CXIX, en illustre un autre exemplaire ayant appartenu à la collection von Beda de Vienne, en le classant comme issu d'un atelier vénitien de la seconde moitié du XVIe siècle. HERCULE ENFANT COMBATTANT LES SERPENTS D'après un modèle de Francesco FANELLI (1577-1661/64) Italie, seconde moitié du XVIIe siècle MATÉRIAUX Bronze à patine brun nuancé Socle en marbre rouge griotte et bronze doré H. 22 cm, L. 13 cm, P. 11 cm Socle : H. 10 cm, diam. 16 cm A SECOND HALF OF 17TH CENTURY ITALIAN PATINATED BRONZE OF HERCULES AS A CHILD FIGHTING SNAKES After a model by Francesco FANELLI (1577-1661/64) 8.66 in. high, 5.11 in. wide, 4.33 in. deep Base: 3.93 in. high, 6.29 in. diam. Cette sculpture en bronze représente Hercule, encore enfant, luttant avec les serpents envoyés par Junon pour le tuer. Celuici, déjà doté d'une force prodigieuse comme le montre sa puissante musculature, parvint à étouffer ses assaillants monstrueux, d'une seule main. Ce bronze, peut-àªtre issu directement de l'atelier de Francesco Fanelli, tire l'originalité de sa composition de dessins réalisés par ce grand maître bronzier du XVIIe siècle, né à Florence, actif à Gàªnes et qui voyagea jusqu'en Angleterre pour se mettre au service du Roi Charles Ier. Le Musée du Louvre conserve un dessin de la main de Fanelli pour un projet de fontaine en bronze au centre de laquelle Hercule adopte une position similaire à notre oeuvre, agenouillé, le dos cambré vers l'arrière, regardant le serpent qui s'enroule autour de son bras. La grande expressivité qui se dégage du visage d'Hercule se retrouve dans un bronze similaire à celui que nous présentons et conservé au Fitzwilliam Museum de Cambridge. Attribué à l'artiste, cet exemplaire aurait été fondu lors de son séjour en Angleterre en 1641. Léo Planiscig, dans son ouvrage « Piccoli bronzi italiani del rinascimento », Milan, 1930, pl. CXIX, en illustre un autre exemplaire ayant appartenu à la collection von Beda de Vienne, en le classant comme issu d'un atelier vénitien de la seconde moitié du XVIe siècle.

ATTRIBUTED  TO  FRANCESCO  FANELLI  (1577-AFTER  1642)ANGLO-ITALIAN,  FIRST  HALF  17TH  CENTURY

VENUS  AND  ADONIS bronze,  on  a  stepped  wood  base bronze:  18cm.,  7  1/8  in.  including  spear  base:  4  by  15  by  13cm.,  1  5/8    by    5  7/8    by  5  1/8  in.

ATTRIBUTED  TO  FRANCESCO  FANELLI  (1577-AFTER  1642)ANGLO-ITALIAN,  FIRST  HALF  17TH  CENTURY

ACTAEON  AND  HIS  HOUNDS bronze 13.5cm.,  5¼in.  including  spear

ATTRIBUTED  TO  FRANCESCO  FANELLI  (1577-AFTER  1642)ANGLO-ITALIAN,  FIRST  HALF  17TH  CENTURY

HERCULES  AND  CERBERUS bronze,  on  a  wood  base bronze:  14cm.,  5½in.;  base:  4cm.,  1½in.

After Francesco Fanelli (1577-1661), pacing horse, Bronze, brown patina, over stained wood base.

After Francesco Fanelli (1577-1661) pacing horse Bronze, brown patina, over stained wood base. H: 12 in.

FRANCESCO FANELLI (1577-AFTER 1642), ANGLO-ITALIAN, 17TH CENTURY

ST GEORGE AND THE DRAGON AND A HORSE BEING ATTACKED BY A LION Horse and Lion inscribed: y horse x Lyon bronze, on ebonised wood and gilt bronze bases St George: 18cm., 7 1/8 in.; base: 16cm., 6¼in. Lion and Horse: 15cm., 5 7/8 in.; base: 15.5cm., 6 1/8 in.

AFTER A MODEL BY FRANCESCO FANELLI (1577- AFTER 1642)ANGLO-ITALIAN, 17TH CENTURY

REARING HORSE bronze, on an associated ebony base horse: 14 by 17cm., 5½ by 6¾in. overall: 22 by 17.5cm., 8 5/8 by 6 7/8 in.

D'après Francesco FANELLI (1577-1641) Chevaux cabrés Paire de bronzes à patine brune Hauteur : 16 cm Sur des socles en marbre noir e..

D'après Francesco FANELLI (1577-1641) Chevaux cabrés Paire de bronzes à patine brune Hauteur : 16 cm Sur des socles en marbre noir et vert antique Provenance : Vente Londres, Bonhams, le 10 juillet 2007, no lot 115

D'après Francesco FANELLI (1577-1641) Enlèvement de Déjanire par le centaure Nessus Groupe en bronze à patine brune XVIIe siècle Hau..

D'après Francesco FANELLI (1577-1641) Enlèvement de Déjanire par le centaure Nessus Groupe en bronze à patine brune XVIIe siècle Hauteur : 25,5 cm Socle en bois noirci et marbre jaune de Sienne (Restauration au bras gauche de Déjanire) Provenance : Ancienne collection Sylvia Adams, vente Londres, Bonhams, le 23 mai 1996, lot no 64 ; Ancienne collection Charles Avery, vente Londres, Bonhams, le 11 décembre 2007, lot no 530 Bibliographie : John Pope-Hennessy, Some Bronze Statuettes by Francesco Fanelli, The Burlington Magazine, XCV, 1953

After the Antique: A small bronze model of the Molossian hound together with a gilt metal model of a horse

the horse after the model by Francesco Fanelli, Italian (1577-1641), both on stained wood plinths, 12cm and 15cm high respectively, (2)

WORKSHOP OF FRANCESCO FANELLI (1577- AFTER 1642), ANGLO-ITALIAN, 17TH CENTURY

PROPERTY FROM A PRIVATE COLLECTION LEAPING HORSE with two recent export stamps on the underside of the base gilt bronze, on a verona marble base bronze: 14.5cm., 5 5/8 in. base: 8 by 27cm., 3¼ by 10 5/8 in.

FRANCESCO FANELLI (1577 - AFTER 1642), ANGLO-ITALIAN, CIRCA 1630-1640

ST GEORGE AND THE DRAGON bronze, on a later tortoiseshell veneer wood base mounted with gilt bronze 18.5 by 26cm., 7¼ by 10¼in.

ATTRIBUTED TO FRANCESCO FANELLI (1577 - AFTER 1642) ANGLO-ITALIAN, 17TH CENTURY

ATTRIBUTED TO FRANCESCO FANELLI (1577 - AFTER 1642) ANGLO-ITALIAN, 17TH CENTURY ACTAEON DEVOURED BY HIS HOUNDS the base inscribed Adriaen de Vries late C16 in pencil on the underside of the base and with a label inscribed A member of the JAMNITZER family Christoph? Wenzel? P.W. bronze, on a later black marble base bronze: 9.5cm., 3¾in. base: 2cm., ¾in.

FIGURE EN BRONZE REPRESENTANT CUPIDON ENDORMI

FIGURE EN BRONZE REPRESENTANT CUPIDON ENDORMI ATTRIBUEE A FRANCESCO FANELLI (FL.1608-?1661), ITALIE, XVIIEME SIECLE Cupidon endormi sur la peau du lion de Némée; reposant sur une base entièrement moulée de forme rectangulaire; patine brun foncé à rehauts brun clair Largeur: 23.8 cm. (9 3/8 in.)

AN ANGLO-ITALIAN BRONZE GROUP OF VENUS AND CUPID, WORKSHOP OF FRANCESCO FANELLI (1577-AFTER 1641), 17TH CENTURY

AN ANGLO-ITALIAN BRONZE GROUP OF VENUS AND CUPID, WORKSHOP OF FRANCESCO FANELLI (1577-AFTER 1641), 17TH CENTURY reddish-brown patina beneath dark brown lacquer. height 5 1/2 in.; 14 cm

A BRONZE MODEL OF A PRANCING HORSE

A BRONZE MODEL OF A PRANCING HORSE LATE 19TH CENTURY, AFTER FRANCESCO FANELLI (1577-1661?) On a later wood plinth 9 in. (23 cm.) high; 7 in. (17.8 cm.) wide overall

A BRONZE GROUP OF THE VENUS BATHING AND CUPID

A BRONZE GROUP OF THE VENUS BATHING AND CUPID AFTER GIAMBOLOGNA, CIRCLE OF FRANCESCO FANELLI, SECOND QUARTER 17TH CENTURY On a black marble base 5¾ in. (14.8 cm.) high, 8½ in. (21.5 cm.) high with base

A BRONZE MODEL OF A PACING HORSE

A BRONZE MODEL OF A PACING HORSE WORKSHOP OF FRANCESCO FANELLI, SECOND QUARTER 17TH CENTURY On an oval bronze plinth and a later black marble base 6½ in. (16.5 cm.) high, 8½ in. (21.6 cm.) high with base

Fanelli, Francesco 1577 Florence - ca. 1657 - follower Young Hercules on a goose.

Fanelli, Francesco 1577 Florence - ca. 1657 - follower Young Hercules on a goose. Height: 9cm. Base.

AFTER A MODEL ATTRIBUTED TO FRANCESCO FANELLI 1577 - AFTER 1657?

VENUS OR AMPHITRITE brown patina beneath greenish dark brown lacquer, upon later stepped wood base

Francesco Fanelli (1577-after 1641) Anglo-Italian, 17th century , Turk on horseback being attacked by a lion bronze, on a gilt bronze plinth; a small white label inscribed B381 on the underside

bronze, on a gilt bronze plinth; a small white label inscribed B381 on the underside

Anglo-Italian, 17th century Francesco Fanelli (1577-after 1641) , St George and the Dragon bronze, on ebonised wood and gilt bronze base

bronze, on ebonised wood and gilt bronze base

Anglo-Italian, 17th century Francesco Fanelli (1577-after 1641) , Horse being attacked by a lion bronze, on an ebonised wood and gilt bronze base; the top of the base inscribed: y horse x Lyon

bronze, on an ebonised wood and gilt bronze base; the top of the base inscribed: y horse x Lyon

Belle paire de chevaux en bronze, Italie ou Angleterre, deuxième moitié du XVII e siècle, d'après des modèles de Francesco Fanelli (1577-après 1657) , A fine Italian or English 17th century bronze pair of rearing stallions after a model of Francesco

bronze à patine brune, socle en bois moderne ; (quelques usures à la patine) Quantity: 2

Italian, 17th century After a model by Francesco Fanelli (1577-after 1661) , A bronze group of a turk and a lion

Italian, 17th century After a model by Francesco Fanelli (1577-1641) , A bronze group of Nessus and Deianeira

CUPIDON CHEVAUCHANT UN DAUPHIN TRAVAIL ANGLO - ITALIEN, FIN XVIIE SIÉCLE, D'APRÈS UN MODÈLE DE FRANCESCO FANELLI (1577 - APRÈS 1641)

[A 17TH CENTURY FRANCO FLEMISH GILTBRONZE GROUP OF CUPID ON A DOLPHIN, AFTER A MODEL BY FRANCESCO FANELLI (1577- AFTER 1641)] FIN XVIIE SIÉCLE, D'APRÈS UN MODÈLE DE FRANCESCO FANELLI (1577 - APRÈS 1641) measurements haut. 12,5 cm; alternate measurements height 5 in les yeux bandés, Cupidon tient debout sur un dauphin, un carquois autour des hanches, ses bras levés pour tirer l'arc bronze doré PROVENANCE Anciennce collection du comte de Boisvouvray, Génève LITERATURE Références bibliographiques: - W. von Bode, (réed. J. Draper), Italian Bronze Statuettes of the Renaissance, New York, 1980, pl. CLXV. - N. Penny, Catalogue of European Sculpture in the Ashmolean Museum, Oxford, 1992, t. I, p. 60-61, no. 491. - M. Leithe-Jasper, P. Wengraf, European Bronzes from the Quentin Collection, New York, 2004, 2005, p. 41, fig. 9. NOTE Ce Cupidon chevauchant un dauphin a déjà été attribué en 1978 par Anthony Radcliffe à Francesco Fanelli et on en connaît plusieures versions dans les musées: l'une à patine brune à la Wallace Collection de Londres (S85), et une autre au Victoria & Albert Museum (A103-1910), une en bronze doré, comme la notre, à l'Ashmolean museum d'Oxford (B424) et une autre version à la National Gallery of Scotland (NG2592).

FRANCESCO FANELLI (1577-AFTER 1641) ANGLO-ITALIAN, MID 17TH CENTURY

A BRONZE GROUP OF ST. GEORGE AND THE DRAGON ANGLO-ITALIAN, MID 17TH CENTURY measurements note height: 19.7cm., 7¾in. base plate: 16.2 by 10.1cm., 6 3/8 by 4in. NOTE Fanelli is principally remembered today for his equestrian bronze statuettes. George Vertue wrote that he 'had a particular genius for these works and was much esteemd in K Charles I time - and afterwards'. Evidence of their wider popularity is inferred by his statement that Fanelli sold them 'to persons that were Curious to sett [them] on Tables cupboards shelves by way of Ornament'. They were instrumental in establishing the vogue for baroque sculpture in England. Abraham van der Doort's inventory of the king's collection in 1639 listed three of his statuettes in the Cabinet Room at Whitehall, of which item 28 is listed as 'a little S George on horseback with a dragon by'. It was displayed in the same room as Raphael's famous painting of the same subject (now Washington N.G.), although Raphael's painting was not Fanelli's source. A more likely inspiration is Ludovico Ciamberlano's 1601 engraving of St. Cresence Killing a Dragon. Fanelli modelled two basic variants of the St. George & the Dragon. In the first version, as the present group records, he adapted his model of the Leaping Horse, identified by its extended hind legs and more pronounced twist of the head, and added the figure of St.George who holds the lance in both hands. Examples of this first, more spirited version, are in the V&A, Welbeck Abbey and the Royal Collection. In the other version of St. George, Fanelli uses a different basic model known as the Rearing Horse, with contracted hind legs and the rider shown holding the lance in one hand and the reins in the other. Examples of this second variant are in the Holburne Museum, Bath and formerly Sylvia Adams Collection (Bonhams 23 May 1996, lot 63). The typical naturalised base with flat rim is the same as that found on the version in the V&A (A.5-1953) and with Michael Hall, NY (no.B60). RELATED LITERATURE Vertue, p.110; The Illustrated Bartsch, vol.44, no.71; Pope-Hennessy (1968), pp.166-171

A BRONZE EQUESTRIAN GROUP OF CHARLES I

BY FRANCESCO FANELLI (fl 1608-?1661), CIRCA 1635-40 Depicted wearing armour and astride his horse, with a baton in his right hand and a medal on a ribbon around his neck; on a later rectangular black marble pedestal 7 5/8 x 6 1/8 in. (19.4 x 15.5 cm.); 14 1/8 in. (35.9 cm.) high, overall

ITALIAN, CIRCA 1700, POSSIBLY AFTER A MODEL BY FRANCESCO FANELLI (1577-AFTER 1641) A BRONZE GROUP

ITALIAN, CIRCA 1700, POSSIBLY AFTER A MODEL BY FRANCESCO FANELLI (1577-AFTER 1641) A BRONZE GROUP OF A HOUND ATTACKING A STAG the hound gripping the stags back with teeth and claws, the stag rearing with head thrown back and mouth open, mounted on later bronze base and yellow and black plinth CATALOGUE NOTE This model is similar to the Stag and Hound illustrated by Weihrauch with an attribution to Fanelli. However, the stag is here shown with forelegs raised, rather than with the front left leg down, and the hounds head and collar is not cast-in with the stag's neck as it is here. A version of the present model, in a private collection, is monogrammed F.F.F.S.M.B.R./1641 which lends credibility to Weihrauch's attribution. Another version, closer to the present work and catalogued as mid-17th century, was offered in these rooms 17th April 1969, lot 119. A further cast was offered by Audap-Solanet, Godeau-Veillet at the Drouot, 18th June 1993, lot 189. RELATED LITERATURE Weihrauch, p.237, pl.288

FRANCESCO FANELLI (1577-AFTER 1641) ITALIAN, SECOND QUARTER 17TH CENTURY A BRONZE RELIEF OF CHRIST

FRANCESCO FANELLI (1577-AFTER 1641) ITALIAN, SECOND QUARTER 17TH CENTURY A BRONZE RELIEF OF CHRIST CARRYING THE CROSS Christ being dragged by a guard and helped by Simon of Cyrene, surrounded by Roman soldiers and with the two thieves following behind; dark brown-black patina, the upper left corner and one head of a soldier restored PROVENANCE sold in these rooms, 21st April 1988, lot 206 CATALOGUE NOTE Formerly believed to be a model by Ferdinando Tacca, Radcliffe's research into the cabinet made for John Evelyn at the V&A, with its inset reliefs of Orpheus Charming the Animals, allowed him to link a corpus of reliefs and identify them as being by the Italian sculptor Francesco Fanelli. Aside from the Orpheus relief and associated animal plaques, the present relief of Christ Carrying the Cross as well as the reliefs of The Rest on the Flight into Egypt, Marcus Curtius Leaping into the Gulf and Adam and Eve were subsequently attributed to his hand. The relief of Christ Carrying the Cross is often paired with the Rest on the Flight into Egypt, despite their incongruous subject matter. Examples of the pairing can be found in the Minneapolis Institute of Arts (inv.nos.66.43.1-1) and the University of Kansas Museum of Art, Lawrence. The Metropolitan Museum of Art, New York has another cast of the present relief, formerly in the Linsky collection (inv.no.198260.109) and which is of octagonal rather than rectangular format. The Kansas version mentioned above shares this format, as do some casts of the Rest on the Flight into Egypt, such as the one in the V&A (inv.A67-1951). It is probable that this is the last remaining example of the Christ Carrying the Cross in private hands as there are less than 5 known examples, 3 of which are in museums. RELATED LITERATURE Radcliffe & Thornton, pp.254-62; Camins, pp.98-101, no.34; V. Avery, pp.172-75, no.24

FRANCESCO FANELLI (1577-AFTER 1641) ITALIAN, PROBABLY GENOA, SECOND QUARTER 17TH CENTURY A BRONZE

FRANCESCO FANELLI (1577-AFTER 1641) ITALIAN, PROBABLY GENOA, SECOND QUARTER 17TH CENTURY A BRONZE REARING HORSE the stallion rearing up on its hind legs, his head inclining to the right with pricked ears and flowing mane pulled mostly to the left side of the neck; set upon a shaped veined grey marble plinth decorated with swags PROVENANCE Private Collection, Milan CATALOGUE NOTE This majestic Rearing Horse shows Fanelli's skill at rendering equine anatomy. The rippling compression of the shoulder muscles as the forelegs unfurl, and the mane flung to one side, give the model a vivacious effect of arrested movement. It has not been previously published. Wixom notes that the Berlin Museum contains two Rearing Horses, formerly in the Dr. James Simon collection, which mirror each other and were probably intended as pendants (inv.nos.5034-35; see Goldschmidt op.cit.). The present model is another cast of the latter, 14.5cm-high horse, while the cast catalogued by Wixom in the Heinz Schneider collection relates to the former. Both Weihrauch, who illustrated another cast of the present Rearing Horse model in the collection of Dr. Schrafl, Zürich, followed by Wixom, believed the model to emanate from the workshops of Giambologna. However more recent research by Avery on a closely similar but larger variant in the Alexis Gregory collection has identified Fanelli as the undisputed author of this group of related horses. Other casts of the present model exist as follows: in a private collection, Kent; as exhibited at Schloss Schallaburg, 1976 (op.cit); as sold from the Dr. Eduard Simon Collection (no.62, paired with a trotting horse after Giambologna no.61); as sold in these rooms 2 July 1973, lot 62. The model is often confused with a similar Rearing Horse (e.g. Bargello inv.no.430) used by Fanelli for one of his two St.George & the Dragon groups. This however has the mane flowing on the proper right side of the neck and a more spirited tail. RELATED LITERATURE F.Goldschmidt, Die Italienischen Bronzen der Renaissance und des Barock, Königliche Museen zu Berlin 1914, pp.36-7, nos.170-171, pl.56; Die Sammlung Dr. Eduard Simon, Cassirer & Helbing auction cat., Berlin 1929, p.134, no.62; H.Wiehrauch, Europäische Bronzestatuetten, Braunschweig 1967, p.226, pl.273; Bronzes de la Renaissance, Chateau de Laarne exh.cat., Brussels 1967, p.118, no.79; W.Wixom, Renaissance Bronzes From Ohio Collections, Cleveland Museum of Art 1976, no.146; M.Leithe-Jasper, Italienische kleinplastik [...] des 16. & 17. Jahrhunderts, exh.cat., Schloss Schallburg 1976, no.9981; C.Avery (ed.), Renaissance and Baroque Bronzes from the Alexis Gregory Collection, exh.cat., Harvard University Art Museums, Cambridge, Mass. 1996, no.42

f - FRANCESCO FANELLI (1577-AFTER 1641), ITALIAN, MID 17TH CENTURY A BRONZE GROUP OF ST. GEORGE

f - FRANCESCO FANELLI (1577-AFTER 1641), ITALIAN, MID 17TH CENTURY A BRONZE GROUP OF ST. GEORGE AND THE DRAGON N/A CATALOGUE NOTE Fanelli is principally remembered today for his equestrian bronze statuettes. George Vertue wrote that he 'had a particular genius for these works and was much esteemd in K Charles I time - and afterwards'. Evidence of their wider popularity can be supposed from his statement that Fanelli sold them 'to persons that were Curious to sett [them] on Tables cupboards shelves by way of Ornament'. They were certainly instrumental in establishing the vogue for baroque sculpture in England. Of all Fanelli's statuettes, the St. George and the Dragon is undoubtedly the best known, for not only was St. George the patron saint of Genoa, where Fanelli had lived and worked since 1605, but also of England, where he arrived in 1631 to work for Charles I. Abraham van der Doort's inventory of the king's collection in 1639 listed three of his statuettes in the Cabinet Room at Whitehall, of which item 28 is listed as 'a little S George on horseback with a dragon by'. Interestingly it was displayed beneath Raphael's painting of the same subject (now Washington N.G.), although Raphael's painting was not Fanelli's source. A more likely inspiration, judging from the analagous counter-twists of St. George's torso and that of the dragon's - as well as the similarity of their classical uniforms - is Ludovico Ciamberlano's 1601 engraving of St. Cresence Killing a Dragon. Fanelli executed at least two basic variants of St. George & the Dragon. In the first version, as the present group records, he adapted his model of the Leaping Horse, identified by its extended hind legs and more pronounced twist of the head, and added the figure of St.George who holds the lance in both hands. Examples of this first, more spirited version, are in the V&A, Welbeck and the Royal Collection. In the other version of St. George, Fanelli uses a different basic model known as the Rearing Horse, with contracted hind legs and the rider shown holding the lance in one hand and the reins in the other. Examples of this second variant are in the Holburne Museum, Bath and formerly Sylvia Adams Collection (Bonhams 23 May 1996, lot 63). While no two casts by Fanelli are ever the same, certain details of the present bronze are analagous with others. For example the stitching each side of the tunic is similar to that found on the Sylvia Adams cast and versions of St.George sold at Christie's on 8 December 1987, lot 161 and Sotheby's 8 July 1993, lot 59. The typical naturalised base with flat rim is the same as that found on the V&A cast (A.5-1953) and another with Michael Hall, NY (no.B60). RELATED LITERATURE G.Vertue, 'Notebooks (1713-1756)', IV, Walpole Society, vol.24 1936, p.110; The Illustrated Bartsch, vol.44 (formerly vol.20, part 1), no.71-I (35); J.Pope-Hennessy, Essays on Italian Sculpture, London 1968, pp.166-171

FRANCESCO FANELLI (1577-AFTER 1641) PROBABLY GENOA, EARLY 17TH CENTURY

dark brown patina