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全球拍卖首页 > Christie's UK > 尊尚珍品拍卖 > Lot 125
A BRONZE GROUP OF ANGELICA AND MEDORA
英国 北京时间
2019年07月05日 开拍 / 2019年07月05日 截止委托
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A BRONZE GROUP OF ANGELICA AND MEDORA BY FERDINANDO TACCA (1619-1686), FLORENCE, CIRCA 1640-50 The figures standing on an integral naturalistic bronze base; inscribed ANGELICA./E.MEDORO to upper tree trunk 16 ? in. (41.3 cm.) high Purchased by the cousin of the present owner in April 1949 at Copper and Adams (?), and thence by descent. The subject of Angelica and Medoro is derived from Ariosto’s epic poem Orlando Furioso, first published in 1516. Angelica is an Asian princess at the court of Charlemagne who falls in love with the Saracen knight Medoro. In the bronze group here they are depicted just after Medoro has carved their names into the adjacent tree. This bronze group is one of a series of two figure compositions which have been convincingly attributed to Ferdinando Tacca (1619-1686), the son of Pietro Tacca and the eventual successor to Giambologna’s Florence workshop on the Borgo Pinti. He was also, like Giambologna and Pietro Tacca, appointed Court Sculptor to the Medici Grand Dukes of Tuscany. Today, his works can be found in many of the most prestigious private collections and international institutions. First comprehensively published by Anthony Radcliffe (op. cit.), Tacca’s work is described as the missing link between the spiral compositions of Giambologna and his immediate followers, and the bronze groups created by later Florentine sculptors such as Giovanni Battista Foggini (1652-1725), whose compositions favour a single viewpoint. In his article, Radcliffe constructs a series of seven two-figure bronze groups which are all stylistically and technically similar, and which – importantly – are all closely related to Tacca’s documented relief of the Martyrdom of St. Stephen (Chiesa di Santo Stefano al Ponte, Florence; illustrated in Pratesi, op. cit., III, figs. 638-9). Although their early provenance is not known with certainty, there appear to have been at least two series with overlapping subjects, with a concentration of them appearing in an inventory of the Duke of Ferrara at Modena, and another concentration in Paris, several of which were in the French Royal Collection. Two others, including another example of the present composition, were in the Spanish Royal Collection from at least 1822, but may have been there much earlier. At the time of Radcliffe’s article, it was believed that there were no more than two examples of each two-figure composition. It has since come to light that at least two of the groups are known in three examples. Among these are the present composition, which is also known in the example cited above in the Spanish Royal Collection, as well as an example that appeared in an exhibition in Florence in 1986/87 (op.cit.) where it was listed as being in a private collection, London. As well as being the pre-eminent Florentine sculptor of his day, Ferdinando Tacca was also actively engaged as a stage designer, and this training is evident in the present composition, which presents the protagonists almost like actors in a play. The somewhat planar conception is, however, counter-balanced by the interaction of the two figures who both contemplate the declaration of love Medoro has just carved into the tree. He curves his upper body toward Angelica and places his arm languidly across her shoulders. His pose is echoed in the curve of the tree and their elegant limbs are suggestive of a courtly dance. Angelica herself could be nothing but Florentine; with her twisting posture and the V-shapes created by her bent arms and legs, she is immediately recognisable as a direct descendant of Giambologna’s female figures such as his Venus Urania (Kunsthistorisches Museum, Vienna). Through such artistic quotations Ferdinando Tacca pays homage to his predecessors while simultaneously asserting his own position among the great Florentine sculptors in bronze. The inscription on the present cast may

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拍品估价：150,000 - 250,000 英镑 起拍价格：150,000 英镑  买家佣金：
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