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101 - Attributed to the Lazzareni workshop, Carrara, late 19th cen…
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Estimate €10,000 - €20,000
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Attributed to the Lazzareni workshop, Carrara, late 19th century in the late Baroque style Bust of a gentleman after Hyacinthe Rigaud (1659-1743) Carrara marble Total height (with head) 135 cm x width 78 cm Provenance:former collection of Ferdinand Bischoffsheim, Paris, by descent Related works:-Hyacinthe Rigaud, Portrait of the Marquis Neri Maria Corsini, (between 1709 and 1713), 1710, oil on canvas, size 115x90 cm, Florence, Palazzo Corsini;-Giovacchino Fortini, Ferdinando de' Medici of Tuscany (1633-1713), marble, bears a Latin inscription on the cartouche ET/LUCET/ET/TERRET/, H: 139 cm, Lady Lever Art Gallery, National Gallery of Liverpool, nřinv. LL203;-Attribute Giovacchino Fortini, Bust of Ferdinand III of Mdicis, marble, dim.111 x 94 x 54 cm, Castries Castle (Hrault);-Atelier Lazzareni, Philippe, Duc d'Orlans, second half of the 19th century, marble bust, dim. 81.3 x 68.7 x 41.5 cm, Samuel H Kress Collection, National Gallery of Art Washington, nřinv.1943.4.88;-XIXth century after Franois Girardon, Le Grand Dauphin, marble bust, dim. 96.5 x 68.6 cm, Norton Simon Foundation, Pasadena, nřinv.F.1965.1.111.S. Related literature:-Douglas Lewis, National Gallery of Art,Washington, ŽA Series of historicizing busts of the nine teenth century, Ss dir. Mizio?ek, Jerzy, in Falsifications in Polish collections and abroad, Warsaw, 2001, pp.161-173 ff.-Pasquale Focarile, Allestimente di ritratti e narrative storico genealogiche nei palazzi fiorentini, ca. 1650-1750;Fondazione 1563 per l'Arte e la Cultura. Collana Alti Studi sull'Eta e la Cultura del Barocco, V.Il Ritratto (1680-1750), 2017;- Ariane James Sarazin, Catalogue raisonn Hyacinthe Rigaud 1659-1743, dition Faton, red.2016, vol.2 nřP1185: Neri Maria Corsini, p.293. In 2001, the curator of sculpture at the National Gallery of Art in Washington, Douglas Lewis, published an unprecedented study of a group of "historicising" marble busts from the late nineteenth century, previously considered to be authentic Baroque portraits of French dignitaries from the late seventeenth and early eighteenth centuries. Drawing up a reasonable catalogue of five main types, grouping together around twenty examples held in key international cultural institutions, he traces the first documented appearance of each type around 1910, its provenance, successive (and contradictory) identifications and variations. The researcher highlights the combination of iconographic elements clearly imitated from the French statuary of Louis XIV with a style much closer to the Italian Baroque. These incongruities include the cartouches on the pidouches, which imitate Florentine prototypes, while the costumes are typically French Ż. He argues that the late dating of the works is due to the presence of misunderstood and incoherent motifs on uniformly woven fabrics, and to the anecdotal facial features that make it impossible to identify precisely the characters, all of whom are wearing wigs with thick, rather stylized curls. The author attributes this series of busts to the highly reputed Lazzarini workshop founded by Francesco Lazzarini (1748-1808). Renowned for its mastery of marble carving, this Carrara workshop specialised in 'royal nobaroque' Ż for the international market from the 1870s-1890s. Using prints and engraved portraits as iconographic sources, it produced a veritable gallery of imaginary 'dignitaries', sold as French court busts from the reign of Louis XIV to major European and American collections at the turn of the twentieth century (Doria-Pamphili Rome, Jablonna near Warsaw, Samuel H Kress Washington collection). Our bust shares all these distinctive features with the other works in this series. It does not, however, repeat any of the models previously recorded, and it inaugurates a sixth type shared with another example in the famous Galerie dore de la Banque de France in Paris. Although the features of the figure are similar to those of a bust identified as Ferdinand III of Monaco by the Florentine sculptor Ferdinando Fortini in Liverpool, this spectacular no-baroque bust is inspired by the masterly portrait of Neri Maria Corsini painted in 1710 by the French artist Hyacinthe Rigaud. (We would like to thank the Countess Lucrezia Corsini Miari Fulcis most respectfully for having invited us to Palazzo Corsini in Florence to carry out this research.)
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About the sale Antique Paintings, Furniture and Works of Art from the 17th to the 19th century
Auction location
Auction time 06/24/2026 at 2:00 PM
Pictures credits:
SEBERT - Marc TOMASI
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