Lot 14: ATTRIBUTED TO ANTONIO SUSINI (1558-1624), THE MODEL BY GIAMBOLOGNA (1529-1608), ITALIAN, FLORENCE, CIRCA 1590-1610 | Rape of a Sabine

bronze, brown patina; on an associated sea green marble and gilt-bronze mounted socle, French, early 19th century
engraved on the terrace :  N° 335

the bronze: 59,5 cm; 23 1/4 in.

bronze, brown patina; on an associated sea green marble and gilt-bronze mounted socle, French, early 19th century<br />engraved on the terrace : <em>N° 335</em>

This cast of the Rape of a Sabine is in very good condition overall. Wear to the patina throughout the surface, notably to the high points, with a few minor scratches consistent with age and handling. There is minor surface dirt and traces of verdigris (or oxidation) in several places, notably in the crevices. A few small casting flaws are visible in several places, notably to the lower edge of the terrace, at the junctions between the terrace and the figures and another one to the kneeling figure's fold of his proper left groin. The standing Roman's proper left shoulder was cast separately with a joint barely visible. A joint is visible to the ring finger of the proper right hand of the female figure. Dark varnish can be seen in several places, which may be remains of the so-called 'couleur de fumée' patina applied by Gouthière in 1785-86. The newly revealed patina under the removed fig leaves, later additions which formerly covered both male figures' genitals, gives a glimpse of the lighter and more red golden original patina, before Gouthière's intervention. Two lumps of bronze appear under the feet of the Roman figure, like it can be observed for the other prime versions of this model in Munich and American private collections (whereas fixing bolts would appear on later casts). There are several fixing holes to the underside of the bronze where it was attached with screws to the marble base. The later base with a few minor chips along the edges of the marble and three fixing holes. A vertical fissure is visible to the underside of the marble base. There is dark staining and oxidation with some wear to the gilt bronze mounts of the base. The casting of this bronze is very precise, comparable to the other two prime versions of the model, of best quality with good finishing and chiseling.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

- Le Cabinet de l'amateur, Orangerie des Tuileries, Paris, 1956, no. 199 (as  Enlèvement d'Orithye)

SOURCE
- Livraison à Jourdan le 2 Fructidor de l'an IV, A. N. O ¹ 3376

LITERATURE
- Inventaire des diamans de la Couronne, perles, pierreries, tableaux, pierres gravées, Et autres Monumens des Arts & des Sciences existants au Garde-Meuble, par les commissaires MM. Bion, Christin & Delattre, Députés à l'assemblée nationale, suivit d'un rapport sur cet Inventaire, par M. Delattre, Paris, 1791
- Le Cabinet de l'amateur, exh. cat. Orangerie des Tuileries, Paris, 1956, no. 199 (described as the Enlèvement d'Orithye)
- S. Castellucci, « La collection de bronzes du Grand Dauphin, in Curiosité. Etudes de l'histoire de l'art en l'honneur d'Antoine Schnapper, Paris, 1998, pp. 355-363
- S. Baratte, G. Bresc-Bautier, Les Bronzes de la Couronne, exh. cat. musée du Louvre, 1999, p. 24 (mentioned in the footnote no. 19) and p. 186
- P. Wengraf, Renaissance & Baroque Bronzes from the Hill Collection, Londres, 2014, pp. 148-156 (same height than the Nos. 186 and 187, mentioned in footnote no 11)

RELATED LITERATURE
- B. Sermartelli, Alcune Composizioni di diversi autori in lode del ritratto della Sabina, Florence, 1583
- G. P. Lomazzo, Trattato dell'arte della Pittura, 1584
- F. Baldinucci, Notizie dei professori del disegno da Cimabue in qua, book 3, Florence, 1681-88, pp. 7, 89
- R. Weihrauch, Bayerisches Nationalmuseum München, Band XIII, 5, Die Bildwerke in Bronze und in anderen Metallen, Munich, 1956, pp. 84-87, cat. 110
- K. Watson and C. Avery, 'Medici and Stuart: a Grand Ducal Gift of 'Giovanni Bologna' Bronzes for Henry, Prince of Wales (1612)', The Burlington Magazine, 115, 1973, pp. 493-507
- Die Bronzen der Fürstlichen Sammlung Liechtenstein, exh. cat. Museum Alter Plastik, Frankfurt, 1986, p. 177, cat. 16 
- M. Leithe-Jasper and P. Wengraf (eds.), European Bronzes from the Quentin Collection, exh. cat. Frick Collection, New York, 2004, pp. 166-173 
- P. Wengraf, 'Zur Bedeutung der "Signaturen" an Giambolognas Marmor -und Bronzefiguren', in W. Seipel (ed.),Giambologna. Triumph des Körpers, exh. cat. Kunsthistorisches Museum, Vienna, 2006, pp. 102-139 
- D. Zikos, 'Die Dresdner Giambolognas. Apologie ihrer Eigenhändigkeit', Giambologna in Dresden. Die Geschenke der Medici, exh. cat. Grünes Gewölbe, Dresden, Munich, 2006, pp. 89-94
- W. Seipel (ed.), Giambologna. Triumph des Körpers, exh. cat. Kunsthistorisches Museum, Vienna, 2006, pp. 120f., pp. 273-275
- D. Zikos, 'Giovanni Bologna and Antonio Susini: an old problem in the light of new research' in P. Motture, E. Jones and D. Zikos (eds.), Carvings, Casts & Collectors. The Art of Renaissance Sculpture, London, 2013, pp. 194-209 
- P. Wengraf (ed.), Renaissance and Baroque Bronzes from the Hill Collection, London, 2014
- C. Kryza-Gersch, 'Antonio Susini Rape of a Sabine' in P. Wengraf (ed.), Renaissance and Baroque Bronzes from the Hill Collection, London, 2014, pp. 148-155
- D. Zikos, 'A bronze group of the Rape of a Sabine by Giambologna', in The Exceptional Sale, Christie's, London, 10 July 2014, lot 30, pp. 134-141
- D. Zikos, 'Raub einer Sabinerin (nach Giambologna)', in J. L. Burk (ed.), Bella Figura. Europäische Bronzekunst in Süddeutschland um 1600, exh. cat. Bayerischen Nationalmuseum, Munich, 2015, pp. 200-203

- In the inventory of the Grand Dauphin, Versailles, 1689, no. 28 or 29 (see also the French Royal Bronze N° 331, another «  Enlèvement »)
- in the diary of the Garde-Meuble royal, Hôtel of the Petit-Bourbon, Paris, 1738 (as coming from Versailles, «  l'enlèvement des Sabines »)
- in the inventory of the new Garde-Meuble royal by Ange-Jacques Gabriel, Louis XV Place (currently Place de la Concorde), Paris, 1775
- mentioned as «  mis en couleur de fumée » by Pierre Gouthière (1732-1813), 1785-1786
- in the inventory of appartments of Marc-Antoine Thierry, Baron of Ville-d'Avray (1732-1792), Versailles, 1788
- ibidem, 1791 
- delivered to Gabriel Aimé Jourdan, on 2 Fructidor of the Year IV (19 August 1796) 
- in the inventory of the estate of his godson, Aimé Gabriel d'Artigues, by Me Turquet, assisted by Me Sibire, auctioneer, and S. Mannheim, expert, 1848 (no 167)