CERCLE DE GERMAIN PILON (PARIS, VERS 1525-1590)

Стартовая цена
€ 50 000
Дата аукционаClassic
12.06.2024 15:00UTC +02:00
Auctioneer
CHRISTIE'S
Место проведения
Франция, Paris
ID 1230039
Лот 15 | CERCLE DE GERMAIN PILON (PARIS, VERS 1525-1590)
CERCLE DE GERMAIN PILON (PARIS, VERS 1525-1590)
Christ à la Colonne
bronze, reposant sur un socle postérieur en marbre noir
H. 18,5 cm (7 ¼ in.) ; H. totale 24,5 cm (9 ½ in.)




Provenance

Patrick Körfer, Londres.
Avec Daniel Katz, Ltd., Londres.
D'où acquis directement par Claudia Quentin, 1999.



Literature

Mazerolle 1902-1904, vol. I, pp. 130-134, docs nos 194, 197-199 (cité dans S. K. Scher, “Germain Pilon et l’art de la médaille”, in Pilon 1990, p. 135).
D. Katz, European Sculpture, New York & Londres, 1996, pp. 42-43, n°18, attribué à Barthélemy Prieur.

BIBLIOGRAPHIE COMPARATIVE
Gaborit, Bresc-Bautier, Lemaistre et Scherf, Sculpture française. II, Renaissance et Temps modernes, Paris, 1998, vol. 2, p. 529.



Exhibited

New York, The Frick Collection, European Bronzes from the Quentin Collection, 28 septembre 2004 - 2 janvier 2005, pp. 284-289, no. 33.



Further Details

A BRONZE FIGURE OF CHRIST AT THE COLUMN, CIRCLE OF GERMAIN PILON

In France, the second half of the 16th century saw the emergence of a generation of artists still held by the sway of the flamboyant gothic of the Middle Ages and yet displaying a nascent Renaissance flair. Recurring motifs characterise this production, such as accentuated moustaches, aquiline noses and small eyes. Germain Pilon (c. 1525-1590) was one of the key figures in this transition, perfectly embodying the close relationship between a taste for Antiquity and the translation of religious ideas into a contemporary visual language. All these elements can be seen in the Quentin collection Christ at the Column. Strong and vigorous, Christ seems to be sanctified by pain. Despite the slight tilt of his head, indicative of the acceptance of his martyrdom, nothing seems to alter his profound humanity, underlined by his skillfully rendered musculature.

Although the royal commissions given to Pilon, in particular the tombs for the basilica of Saint-Denis, are well documented, we know from a report of 1573 by Richard Toutain, a Parisian master goldsmith that Pilon had been making models on a small-scale since the mid-1550s: “Pilon fabriquait depuis dix-huit ans des modèles pour les joaillers et les bijoutiers”. Pilon himself refers to the wax models he made for medals. Although none of these models are known to have survived, the bronze relief of the Lamentation of Christ (Paris, Musée du Louvre, inv. no. LP 44) is, however, an important example of his production of religious works in bronze, and can be compared with our Christ at the Column.


Please note a scanned copy of the full catalogue entry from the catalogue of the 2004 Quentin Collection exhibition at The Frick Collection, New York, is available upon request.
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