Tomasso Brothers - Fine Art Winter Exhibition

WINT ER EX H IBITION 2015 TOMAS S O BR OTH ER S FI NE ART

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TOMASSO BROTHERS

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WINTER EXHIBITION 2015 TOMASSO BROTHERS FINE ART 

              East rd Street New York, NY   January –  February 

                   

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Catalogue by Elliot Davies and Emanuela Tarizzo Photographs by Doug Currie ©  Tomasso Brothers Fine Art

TOMASSO BROTHERS FINE ART Bardon Hall, Weetwood Lane, Leeds,  , UK    . +  ()     Duke Street, St James’s, London,  , UK    . +  ()    www.tomassobrothers.co.uk info@ tomassobrothers.co.uk

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WINTER EXHIBITION 2015     Mars and Venus

   , attributed to Venus and Cupid

  , attributed to Walking Horse with Flowing Mane

 .   Baccante Cimbalista

   Hercules and Antaeus

    , attributed to The Stoning of Saint Stephen

   Bust of a Nobleman in Armour

    A pair of bronze groups representing the Heroism of Marcus Curtius and the Farnese Bull

   Bust of Lieutenant-General Sir Herbert Taylor (–)

  , attributed to Sleeping Nymph

 -  Bust of Michel de Montaigne (–)

 .   Bust of a Muse

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           (–)       , th century

Mars and Venus Bronze, light brown patina beneath a dark brown lacquer  ½ in. (. cm) high

   F. Souchal, Les Slodtz sculpteurs et decorateurs du Roi –, Paris,  H.R. Weihrauch, Europaische Bronzestatuetten – Jahrhundert, Brunswick, , nos. –

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          (d. ) (attributed to)     , second half of the th century

Venus and Cupid White marble  / in. ( cm) high  ¼ in. ( cm) wide  ¾ in. (. cm) deep

   La sculpture au siècle de Rubens dans les Pays-Bas méridionaux et la principauté de Liège, exh. cat., Musée d’Art Ancien, Brussels, , pp. – F. Carrette et al. (eds.), Le Baroque Dévoilé – Nouveau regard sur la sculpture à Bruxelles et en Belgique, exh. cat., Hôtel de Ville, Brussels,  L. Lock, La Charité, Jan van Delen, Brussels, 

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           (–) (attributed to)        , circa –

Walking Horse with Flowing Mane Bronze, traces of brown varnish  in. (. cm) high

 Private collection, Vienna    A.F. Radcliffe, ‘Ferdinando Tacca: The Missing Link in Florentine Baroque Bronzes’, in H. Keutner (ed.), Kunst des Barock in der Toskana: Studien zur Kunst unter der letzten Medici, Munich, , pp. – C. Avery and A. Radcliffe (eds.), Giambologna (-): Sculptor to the Medici, exh. cat., Royal Scottish Museum, Edinburgh, Victoria and Albert Museum, London, and Kunsthistorisches Museum, Vienna, –, no.  L. Camins, Glorious Horsemen: Equestrian Art in Europe, –, exh. cat., Museum of Fine Arts, Springfield, MA, , no.  C. Avery, ‘Giovanni Bologna and the Horse’, in Partridge Fine Arts Ltd., Summer Exhibition, exh. cat., London, , pp. – C. Avery, Giambologna: The Complete Sculpture, Oxford, , p. , no. , p. , fig.  C. Avery, ‘Giambologna’s Horses: Questions and Hypotheses’, in C. Avery, Studies in Italian Sculpture, London, , pp. – B. Paolozzi Strozzi and D. Zikos, Giambologna: gli dei, gli eroi – Genesi e fortuna di uno stile europeo nella scultura, exh. cat., Museo Nazionale del Bargello, Florence, , pp. –, no. 

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  .           (–)     , 

Baccante Cimbalista

(Bacchante playing the cymbals) White marble  ¼ in. ( cm) high

 Commissioned by Countess Antonietta Fagnani Arese, Milan,  From whom acquired by Count Leonino Secco Suardo, Bergamo And by descent to Countess Camilla Maffei Marazzi, Bergamo Private collection, Lucca, Italy  Accademia di Brera, Milan,    G. Mazzini, Cincinnato Baruzzi: la vita, i tempi, le opere, Imola, , pl. X A. Mampieri, Cincinnato Baruzzi, Bologna, , pp. –

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                 (–)     , st quarter of the th century Hercules and Antaeus Bronze  ¼ in. (. cm) high  ½ in. (. cm) wide  ¼ in. (. cm) deep

 Private collection, Amsterdam Private collection, London    C. Avery, Giambologna: The Complete Sculpture, Oxford, , pp. – and p. , no. 

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           (active circa –) (attributed to)    , last quarter of the th century

The Stoning of Saint Stephen Swiss pine, with original polychromy and gilding  ¾ in. ( cm) high  ¾ in. ( cm) high  ¼ in. (. cm) high

 Private collection, Stuttgart, circa –  On loan, Landesmuseum Württemberg, Stuttgart    N. Jopek, German Sculpture –: A Catalogue of the Collection in the Victoria and Albert Museum, London,  W.D. Wixom, ‘Late Medieval Sculpture in the Metropolitan, –’, The Metropolitan Museum of Art Bulletin, , no. , , p. 

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              (–)         , circa 

Bust of a Nobleman in Armour White marble  in. ( cm) high

 Private collection, New York    S. Bellesi and M. Visonà, Giovacchino Fortini: Scultura Architettura Decorazione e Committenza a Firenze al tempo degli ultimi Medici,  vols., Florence, , II, nos.  and 

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             (–)     , circa 

A pair of bronze groups representing the Heroism of Marcus Curtius and the Farnese Bull Bronze, each on an integrally cast naturalistic base, blackish brown patina with warm medium brown high points  ¾ in. ( cm) high  in. ( cm) high

 Giovanni Antonio Galeazzo Dondi Orologio (–), Padua, in whose posthumous inventory they appear  January , no.  By descent to Conte Paolo Avanzetti By descent to his daughter (d. ), who married into the Plateo family Sig. Bombarda Antonio Monterumici, ‘Avvocato di Venezia’, circa  Marchese Ferdinando Pica-Alfieri, Milan, but kept at his home Villa la Vallée, Castagnola, Switzerland

 The Place of the Antique in Early Modern Europe, Smart Museum, University of Chicago, , nos.  and    S. Guerriero, ‘Per l’attività padovana di Giovanni Bonazza e del suo ‘valente discepolo’ Francesco Bertos’, Bolletino del Museo Civico di Padova, , , pp. – C. Avery, The Triumph of Motion: Francesco Bertos (-) and the Art of Sculpture, Catalogue Raisonné, Turin, , nos.  and , pp. –, –, pls.  and 

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            (–)       , circa 

Bust of Lieutenant-General Sir Herbert Taylor (–) Adjutant-General of His Majesty’s Forces White marble  ¾ in. ( cm) high

 Lieutenant-General Sir Herbert Taylor and by descent   A. Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and their Works, from its Foundation in  to , London, , vol. IV, p.  R. Gunnis, Dictionary of British Sculptors  – , London, , pp. – I. Roscoe, E. Hardy and M.G. Sullivan, A Biographical Dictionary of Sculptors in Britain –, New Haven and London, , pp. –

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            (–) (attributed to)    , second half of the th century

Sleeping Nymph Bronze  in. ( cm) high  ¼ in. (. cm) wide  ¼ in. ( cm) deep

 Private collection, Germany    A.F. Radcliffe, ‘Ferdinando Tacca: The Missing Link in Florentine Baroque Bronzes’, in H. Keutner (ed.), Kunst des Barock in der Toskana: Studien zur Kunst unter der letzten Medici, Munich, , pp. – C. Avery and A. Radcliffe (eds.), Giambologna (–): Sculptor to the Medici, exh. cat., Royal Scottish Museum, Edinburgh, Victoria and Albert Museum, London, and Kunsthistorisches Museum, Vienna, , p.  C. Avery, Giambologna: The Complete Sculpture, Oxford, , p. 

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      -               (–)       , –

Bust of Michel de Montaigne (–) French Renaissance philosopher and essayist Terracotta  in. ( cm) high

 Commissioned by Jean-Baptiste Plasschaert, –, as a model for the stone bust in the park of Kasteel van den Heer Buggraaf de Spoelbergh (Châtelain de Wespelaer) Private collection, Belgium    M. Devigne, Musée Royal des Beaux-Arts de Belgique: Catalogue de la sculpture, Brussels, , p.  M. Devigne, ‘Le souvenir de Godecharle à Wespelaer’, La revue de l’art, , nos. –, July–August , pp. – M. Devigne, ‘De la parenté d’inspiration des artistes flamands du XVIIe et du XVIIIe siècle: Laurent Delvaux et ses élèves’, Mémoires de l’Académie royale de Belgique: Classe des beaux-arts, n.s. , ii/, , pp. – A. Jacobs et al., –: Autour du néo-classicisme en Belgique, exh. cat., Musée d’Ixelles, Brussels, , pp. – J. van Lennep (ed.), Académie Royale des Beaux-Arts de Belgique, exh. cat., Musées royaux des Beaux-Arts de Belgique, Brussels, , pp. –, – R. Kerremans: ‘Godecharle, Gilles-Lambert’, in J. van Lennep (ed.), La Sculpture belge au ème siècle, exh. cat., Génerale Banque, Brussels, , pp. – J. van Lennep, Catalogue de la sculpture: Artistes nés entre  et , Musées royaux des Beaux-Arts de Belgique, Brussels, exh. cat., Brussels, , pp. – A. Jacobs, Laurent Delvaux –, Paris, 

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  .            (–)     , 

Bust of a Muse White marble  ¾ in. ( cm) high Signed Cav. Baruzzi Inscribed Musa

 Private collection, Belgium   A. Mampieri, Cincinnato Baruzzi, Bologna, , p. , no. 

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WINT ER EX H IBITION 2015 TOMAS S O BR OTH ER S FI NE ART

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