D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 1
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 2
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 3
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 4
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 5
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 6
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 7
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 8
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 9
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 10
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 11
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 12
D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE - фото 13

D`APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D`APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE

Лот 20
11.12.2025 00:00UTC +00:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Место проведенияВеликобритания, London
Комиссияsee on Website%
ID 1514321
Лот 20 | D'APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE et D'APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE
Оценочная стоимость
€ 200 000 – 300 000
D'APRÈS GIAMBOLOGNA, FLORENCE, XVIIe SIÈCLE
et
D'APRÈS FRANÇOIS GIRARDON, FRANCE, DÉBUT DU XVIIIe SIÈCLE
L'Enlèvement d'une Sabine
et
L'Enlèvement de Proserpine par Pluton
deux bronzes réunis en paire, la base du groupe avec la Sabine agrandie probablement au XVIIIe siècle, chacun reposant sur une base en bronze doré, placage d'ébène et d'écaille de tortue dans le style d'André-Charles Boulle de la fin du XIXe ou du début du XXe siècle ; restaurations
H. 64,5 et 53,4 cm. (25 3/8 et 21 in.)
H. initiale de L'Enlèvement d'une Sabine : 59 cm. (23 ¼ in.)
H. totales : 82 et 72 cm. (32 ¼ et 28 1/3 in.)(2)




Provenance

Probablement Edgard-Salomon Stern (1854-1937) et Marguerite Stern née Fould (1866-1956), château de Villette, Pont-Sainte-Maxence, Oise (selon les archives RA 8, MAEE, Paris) ;
D'où probablement confisqués par le Einsatzstab Reichsleiter Rosenberg suite à l'occupation allemande de la France (ERR inv. non référencé, décrits comme « Enlèvement des Sabines – Deux groupes patinés bruns ») ;
Transférés au Jeu de Paume, Paris (sans date) ;
Restitués à Marguerite Stern le 12 décembre 1946 ;
Puis par descendance.



Literature

Bibliographie comparative :
C. Avery et A. Radcliffe, Giambologna (1529-1608), sculptor to the Medici, cat. exp. Londres, Édimburg et Vienne, 1978, p. 108, cat. 58-59.
F. Souchal et F. de La Moureyre, French Sculptors of the 17th and 18th centuries - The reign of Louis XIV, vol. II, Oxford, 1981, pp. 41-43, cat. 42.
R. Wenley, French bronzes in the Wallace Collection, Londres, 2002, pp. 46-49 et pp. 54-57.
A. Maral (dir.), Girardon. Le sculpteur de Louis XIV, Paris, 2015, pp. 110-114 et pp. 510-511, cat. Sb. 24 à 29.



Further details

TWO BRONZE GROUPS REPRESENTING THE ABDUCTION OF A SABINE, AFTER GIAMBOLOGNA, FLORENTINE, 17TH CENTURY, AND THE ABDUCTION OF PROSERPINA BY PLUTO, AFTER FRANÇOIS GIRARDON, FRENCH, EARLY 18TH CENTURY

These two bronze groups, each depicting a famous abduction scene, are after models by two of the greatest sculptors in art history: Giambologna and François Girardon.

The first group represents The Abduction of a Sabine after Jean de Boulogne, known as Giambologna (1529–1608). A native of Douai, Giambologna settled at an early age in Florence, where he became sculptor to the Medici. After first creating a two-figure version of the Sabine abduction, he revisited the same legendary episode from Roman history in a new composition of three figures. The original marble version of this latter group, executed between 1579 and 1583 for the Loggia dei Lanzi in Florence’s Piazza della Signoria, is considered a masterpiece of the late Renaissance, combining the serpentine line (figura serpentinata), a pyramidal composition, and multiple points of view.

Our bronze is a very fine Florentine cast from the 17th century, belonging to the tradition of reductions made for connoisseurs and collectors, which could also serve as diplomatic gifts. Comparable examples include a version in the Kunsthistorisches Museum, Vienna (inv. 5899), and a group sold by Christie’s, London (10 July 2014, lot 30). A few other casts made by Giambologna’s assistants and followers are also known (attr. to A. Susini, Bayerisches Nationalmuseum, Munich, inv. 52/118; attr. to A. Susini, former Baron Gustave de Rothschild Collection, later Prince of Liechtenstein Collection, inv. SK 115; Musée du Louvre, Paris, inv. OA 5076 A).
Our example stands out from known casts by the addition of a rocky terrace, probably added later, in the 18th century, perhaps to create a pair (its original height was 59 cm, similar to most documented 17th-century casts).

The second group represents The Abduction of Proserpina by Pluto, after the marble carved by François Girardon (1628–1715) for Louis XIV. Born in Troyes, Girardon trained in Rome before becoming one of Le Brun’s principal collaborators at the Galerie d’Apollon in the Louvre and the Tuileries Palace, later joining Versailles in 1666. Appointed First Sculptor to the King, he was a major figure of French Classicism.
The original marble of The Abduction of Proserpina was commissioned in 1674–1675, initially for the Parterre d’Eau at Versailles, where it was to symbolize Fire among the four elements. It was finally installed at the heart of the Colonnade in 1699 (inv. MR 1865). Celebrated from the moment of its creation, the group was soon replicated. Several early reductions are known, including large casts nearly a meter high (one on deposit from the Musée du Louvre at the Château de Versailles, inv. MV 7953) and others of similar scale to our group, such as those in the Wallace Collection, London (inv. S170), Versailles (inv. MV 8629.1), and the Louvre (inv. OA 12241).

Presented as pendants on bases imitating the style of André-Charles Boulle, these two bronzes were clearly intended not as isolated sculptures but as collector’s objects, in the spirit of an 18th-century cabinet or gallery. The bases contribute to this sense of unity and enhance the bronzes. Dating from the late 19th or early 20th century, they faithfully reproduce the aesthetic of the great Louis XIV cabinetmaker, featuring première-partie marquetry and gilt-bronze mounts derived from his decorative vocabulary. The hoof feet emerging from acanthus leaves, for instance, appear on the “commodes de deux desseins differens [sic]” and the “table à mettre dans un trumeau” illustrated on plates 3 and 5 of the Recueil published by Jean Mariette from 1708 (see André-Charles Boulle, Château de Chantilly exh. cat., 2024, pp. 78 and 80). The satyr mask within a cut-leather cartouche is likewise found in Boulle’s corpus.

While Girardon’s Abduction of Proserpina by Pluto is more often paired with The Abduction of Orithyia by Boreas, a group by Gaspard Marsy and Anselme Flamen made for the same royal commission and symbolizing Air (see the pair from the former J. Ortiz-Patiño Collection, later Mr. and Mrs. H. Kravis Collection; or the Wallace Collection, inv. S170 and S169), it appears here alongside Giambologna’s work.
Compositions by the two sculptors have occasionally been associated before — for example, Giambologna’s Abduction of Deianira by Nessus and The Abduction of a Sabine on Horseback, which for a time was attributed to Girardon (see Wallace Collection, inv. S116 and S132; or former H. de Givenchy Collection, Christie’s, Monaco, 4 December 1993, lot 16).

The specific pairing of our two groups, however, has several documented precedents in 18th-century sales. In the 1772 sale of cabinetmaker Charles Cressent, mounted on Boulle-style bases, we find the following description:

“No. 1 – A bronze group of three figures representing The Abduction of the Sabines. This rare piece, one of the finest of its kind, deserves to be described as the most perfect work to be found in the Kingdom.
It is very light, cast in one piece and repaired by Suffigny [Susini?], sculptor, pupil of Jean de Boulogne, who made the models for the great square in Turin. Four groups were made by the same artists for the four corners. The other three pendants found here are merely countercasts and cannot compare with the one described. Being unable to obtain a second, it was paired with The Abduction of Proserpina by M. Girardon, mounted on marquetry feet, the bronzes gilded with ormolu.”

Similarly, in the sale of Louis Antoine Crozat, Baron de Thiers, on 26 February 1772:

“910 – Two bronze groups, each 24 inches high [approx. 64.8 cm], each composed of three figures, the chiseling matching the quality of the composition; one represents The Abduction of a Sabine by Jean de Bologne, the other The Abduction of Proserpina by François Girardon, on vert de mer marble bases, two ‘pouces’ high.”

And again, in the sale of the jeweler-dealer Jean Dubois on 20 December 1785:

“162 – Two very fine groups, each composed of three figures, one representing The Abduction of a Sabine and the other that of Proserpina, each set on a marquetry base. Height ‘22 pouces 6 lignes’ [approx. 60.7 cm].”

These early references give our pair perfect legitimacy within the history of taste. Masterpieces of sculpture, the iconographic complementarity of these bronzes makes for a pairing evocative of the greatest collectors’ cabinets of the 18th century.
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ATTRIBUÉ À FRANÇOIS GIRARDON (1628-1715), VERS 1675-1694
ATTRIBUÉ À FRANÇOIS GIRARDON (1628-1715), VERS 1675-1694
€150 000
CERCLE DE FRANÇOIS GIRARDON (1628-1715), FIN DU XVIIe OU DÉBUT DU XVIIIe SIÈCLE
CERCLE DE FRANÇOIS GIRARDON (1628-1715), FIN DU XVIIe OU DÉBUT DU XVIIIe SIÈCLE
€7 000
ATTRIBUÉ À FRANÇOIS GIRARDON (1628-1715), FRANCE, VERS 1700
ATTRIBUÉ À FRANÇOIS GIRARDON (1628-1715), FRANCE, VERS 1700
€1 500 000
FRENCH, LATE 18TH OR EARLY 19TH CENTURY, AFTER A MODEL VARIOUSLY ATTRIBUTED TO FRANÇOIS GIRARDON (1628-1715) OR ANTOINE COYSEVOX (1640-1720)
FRENCH, LATE 18TH OR EARLY 19TH CENTURY, AFTER A MODEL VARIOUSLY ATTRIBUTED TO FRANÇOIS GIRARDON (1628-1715) OR ANTOINE COYSEVOX (1640-1720)
£15 000
FRENCH, LATE 18TH OR EARLY 19TH CENTURY, AFTER A MODEL VARIOUSLY ATTRIBUTED TO FRANÇOIS GIRARDON (1628-1715) OR ANTOINE COYSEVOX (1640-1720)
FRENCH, LATE 18TH OR EARLY 19TH CENTURY, AFTER A MODEL VARIOUSLY ATTRIBUTED TO FRANÇOIS GIRARDON (1628-1715) OR ANTOINE COYSEVOX (1640-1720)
£7 000

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