Nicolas (1567) Cordier Sold at Auction Prices

Sculptor, b. 1565 - d. 1612

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    • Nicolas Cordier, genannt „Il Franciosino“, 1567 – 1612
      Jun. 24, 2021

      Nicolas Cordier, genannt „Il Franciosino“, 1567 – 1612

      Est: €40,000 - €60,000

      PAAR BÜSTEN  Höhe: 100,1 cm bzw. 105,1 cm. Beigegeben ein ausführliches Gutachten mit Vergleichsbeispielen von Maurizio Marini, Rom, in Kopie. Terrakotta, geformt und gebrannt. Auf barockem, von Voluten flankiertem Sockel mit schauseitiger bewegter Wappenkartusche je eine Büste eines bärtigen Mannes, einmal mit niedergerichtetem Blick und welligen Haaren, einmal mit Blick am Betrachter vorbei gerichtet mit phrygischer Mütze.   Literatur: Vgl. Sylvia Pressouyre, Nicolas Cordier - recherches sur la sulpture à Rome autour de 1600, Rom 1984. (1271911) (13) Nicolas Cordier, also known as "Il Franciosino", 1567 - 1612 A PAIR OF BUSTS Height: 100.1 cm or 105.1 cm. Accompanied by a detailed expert’s report with examples of comparison by Maurizio Marini, Rome, in copy. Terracotta; moulded and fired. Literature: Compare. S. Pressouyre, Nicolas Cordier - recherches sur la sculpture à Rome autour de 1600, Rome 1984.

      Hampel Fine Art Auctions
    • TWO ITALIAN ALABASTER AND 'GIALLO ANTICO' FIGURES OF CLEOPATRA AND JUDITH, FROM THE CIRCLE OF NICOLAS CORDIER (1567-1612), 17TH AND 18TH CENTURIES
      Jan. 27, 2011

      TWO ITALIAN ALABASTER AND 'GIALLO ANTICO' FIGURES OF CLEOPATRA AND JUDITH, FROM THE CIRCLE OF NICOLAS CORDIER (1567-1612), 17TH AND 18TH CENTURIES

      Est: $180,000 - $200,000

      TWO ITALIAN ALABASTER AND 'GIALLO ANTICO' FIGURES OF CLEOPATRA AND JUDITH, FROM THE CIRCLE OF NICOLAS CORDIER (1567-1612), 17TH AND 18TH CENTURIES height of Cleopatra 23 in., height of Judith 23 3/4 in.; 58.4 cm, 60.3 cm

      Sotheby's
    • A CARVED BLACK MARBLE BUST OF A YOUNG MOOR
      Dec. 12, 2002

      A CARVED BLACK MARBLE BUST OF A YOUNG MOOR

      Est: $127,200 - $190,800

      Attributed to Melchior Barthel (1625-1672), mid-17th century On a circular grey marble socle and a rectangular marble plinth; signed under the left shoulder with the letters 'B.F'. Minor losses and restorations; drill holes for earrings in both ears; small section to reverse of the head carved from a separate piece of marble. 17 in. (43.2 cm.) high 223/4 in. (57.8 cm.) high, overall LITERATURE COMPARATIVE LITERATURE: S. Pressouyre, Nicolas Cordier - recherches sur la sculpture … Rome autour de 1600, pp. 413-415, no. 21, figs. 190-198. A. Bacchi ed., La Scultura a Venezia da Sansovino a Canova, Milan, 2000. NOTES This sensitively executed bust of a young boy combines an air of idealised nobility with the charm of an intimate portrait. It follows in the tradition of sculptures of negros which began in antiquity but which was revived in the renaissance by such artists as Nicolas Cordier, whose celebrated full length marble figure of a moor was executed between 1607 and 1612 and is now housed in the Louvre (Pressouyre, loc. cit ). Unlike Cordier's work, however, the present bust lacks any sense of ostentation; one senses that it was carved for the personal pleasure of either the sculptor or a close friend or family member of the sitter. Melchior Barthel was a German artist who began and finished his life in Dresden, but who spent 17 years of his career working in Venice. One of his major commissions was for the work he did on the tomb of Giovanni Pesaro in the church of Santa Maria Gloriosa dei Frari, which included negro caryatid figures executed in black and white marble. In the Saint Louis Art Museum there is also a marble bust of a male negro signed with the letters 'MB.Sc' which has been attributed to Barthel (for an illustration see Bacchi, op. cit., pl. 26). Although that bust also has white marble shoulders, it may be that it was destined for a more public location than the present bust, and therefore required a more complex treatment. Stylistically, there are a number of similarities between the Saint Louis bust and the present lot. The letters 'B.F' carved into the shoulder of the latter - which could be taken to signify 'Barthel Fecit' - would support the attribution to Barthel.

      Christie's
    • A BLACK AND WHITE MARBLE BUST OF A MOOR
      Jun. 13, 2002

      A BLACK AND WHITE MARBLE BUST OF A MOOR

      Est: $59,600 - $89,400

      Circle of Melchior Barthel (1625-1672), mid-17th century The black marble head set into draped white marble shoulders; on a cylindrical white marble and green scagliola pedestal; formerly wearing a crown and earrings, now lacking; minor chips, repairs and scratches. 27 in. (68.5 cm.) high 691/4 in. (176 cm.) high, overall LITERATURE COMPARATIVE LITERATURE: S. Pressouyre, Nicolas Cordier - recherches sur la sculpture … Rome autour de 1600, pp. 413-415, no. 21, figs. 190-198. R. C. Ar‚izaga, Museo del Prado - Cat logo de la Escultura de poca Moderna - Siglos XVI-XVIII, Madrid, 1998, no. 26. A. Bacchi, ed., La Scultura a Venezia da Sansovino a Canova, Milan, 2000, pp. 692-694, fig. 226. A. Bacchi, ed., Scultura del '600 a Roma, Milan, 2000, pp. 792-793, fig. 271. NOTES Artistic depictions of negros in antiquity were common, and the renaissance saw a revival of interest in the subject. Nicolas Cordier (1567-1612) was among the first to sculpt a black man; his full length figure of a Moor was one of the jewels of the Borghese collection but was later sold to Napoleon and is today in the chƒteau de Versailles (Pressouyre, loc. cit. ). In Rome, the little-known sculptor Francesco Caporale was commissioned to carve a portrait of the ambassador from the Congo, Antonio Il Negrita, in 1608. The sitter of the present bust shares with the Caporale bust a certain air of nobility, but is otherwise quite different in its treatment. Similarly, the Cordier Moor is far more stylised than the bust being offered here. In its combination of individuality - one senses that this bust may represent an actual portrait of a historical figure - and idealism, it most closely resembles a bust by Melchior Barthel in the St. Louis Art Museum (illustrated in Bacchi, La Scultura a Venezia, loc. cit. ). Although less heroic than the present bust, the sensitively carved features and the restrained white marble of the shoulders of the St. Louis bust are directly comparable. Melchior Barthel (1625-1672) was born in Dresden, but is known to have made journeys to southern Germany and Italy, including a visit to Rome and a period of 17 years when he lived in Venice. While in the latter city, he executed a number of important commissions including the Tomb of Doge Giovanni Pesaro in the Frari. Part of that tomb includes negro caryatid figures executed in black and white marble, the drapery of which shows certain similarities to the irrational folds on the shoulders of the present bust. Barthel later returned to Dresden to become court sculptor, but is not known to have completed any large scale marbles during his time there.

      Christie's
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