Benedetto Pistrucci Sold at Auction Prices

Modelleur, Sculptor

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      • Benedetto Pistrucci (1784-1855) 4 drawings,
        Sep. 26, 2019

        Benedetto Pistrucci (1784-1855) 4 drawings,

        Est: €1,500 - €3,000

        Benedetto Pistrucci (1784-1855) 4 drawings, 20 x 15cm ca.

        Ansuini 1860 Auctions
      • Benedetto Pistrucci (Roma 1784 - Windsor 1855)
        May. 24, 2018

        Benedetto Pistrucci (Roma 1784 - Windsor 1855)

        Est: €500 - €1,000

        Medaglia di Waterloo: ritratti di profilo di Giorgio IV d’Inghilterra, Francesco II d’Austria, Alessandro I di Russia, Federico Guglielmo III di Prussia, entro allegorie classiche (al dritto); e Giove su quadriga con i Dioscuri e tritoni (al rovescio) galvanoplastica in rame argentato, diametro mm 133, grammi 332 firmato: PISTRUCCI al rovescio in basso La medaglia di Waterloo, opera del medaglista romano Benedetto Pistrucci, capo incisore della Royal Mint di Londra, è sicuramente il suo capolavoro in ambito numismatico. Commissionata da Giorgio IV già nel 1816 per celebrare il trionfo su Napoleone Bonaparte, ebbe una gestazione ultratrentennale, minata da invidie, rivalità interne e vicissitudini diplomatiche e, infine, costellata da difficoltà tecniche, legate innanzitutto alle enormi dimensioni. La superba qualità e la finezza incisoria imposero una realizzazione ottenuta per galvanoplastica. Al ‘dritto’ della medaglia trovano posto i busti accollati dei sovrani alleati vittoriosi: Giorgio IV d’Inghilterra, Francesco II d’Austria, lo zar Alessandro I di Russia e Federico Guglielmo III di Prussia; li circonda una profusione di allegorie classiche: Apollo, restauratore di luce e ordine, Iris e Zefiro annunciatori di pace, la Giustizia che sovrasta le Parche, Ercole che debella le Furie e i Dioscuri, forse in riferimento al mese in cui avvenne la battaglia o più in generale come richiamo tradizionale alle epocali vittorie propiziate nell’antichità da Castore e Polluce. Al ‘rovescio’ Giove vittorioso in quadriga sovrasta i Dioscuri, che qui sembrano alludere ai generali Wellington e Blücher, accompagnati dalla Vittoria, mentre al di sotto si svolge la titanica lotta fra diciannove tritoni, chiara allusione alla durata della guerra. L’esemplare offerto nel lotto, firmato da Pistrucci, si può datare alla seconda metà del XIX secolo. Si distingue chiaramente per qualità esecutiva dalle numerose repliche, soprattutto di area francese, realizzate in formati diversi e con metalli di minor pregio. 1

        Finarte Roma
      • An Italian marble relief plaque of Pope Pius IX (Pope 1846-78) By Benedetto Pistrucci (1783-1855) 10cm wide, 13cm high
        Jun. 28, 2007

        An Italian marble relief plaque of Pope Pius IX (Pope 1846-78) By Benedetto Pistrucci (1783-1855) 10cm wide, 13cm high

        Est: £500 - £800

        An Italian marble relief plaque of Pope Pius IX (Pope 1846-78) By Benedetto Pistrucci (1783-1855) Signed Pistrucci 10cm wide, 13cm high

        Lyon & Turnbull
      • BENEDETTO PISTRUCCI ITALIAN, 1783-1855
        Jul. 07, 2006

        BENEDETTO PISTRUCCI ITALIAN, 1783-1855

        Est: £20,000 - £30,000

        A BUST OF NICOLÒ PAGANINI (1782-1840) measurements note bust: 65cm., 25½in. bracket pedestal: 48 by 39 by 25.5cm., 19 by 15 by 10in. terracotta painted plaster, with original wood wall mounted bracket (2) signed and dated: B. PISTRUCCI SCULPSIT PUBLISHED FEBRY 1832. PROVENANCE George Makins (1815-1892), Independent Assayer, worked for Royal Mint and Bank of England; W.E. Hill & Sons (Violin dealers), 140 New Bond Street, London; Sold Sotheby's, Musical Instruments, 14th November 1985, lot 135 [unillustrated]; The Andrew McGee Collection EXHIBITED Paganini in London, Royal Academy of Music, London 2006 LITERATURE 'Paganini's 'lost' bust', exhibition brochure for Paganini in London, Royal Academy of Music, 2006 NOTE This plaster cast is the only example of Pistrucci's bust of Paganini known to have survived. As recently as the Pistrucci exhibition mounted earlier this year at the Soane Museum and Waddesdon Manor, its existence was not acknowledged. Its provenance, however, can be traced back to a near contemporary of Pistrucci at the Royal Mint: George Makins. Pistrucci's bust of Paganini was probably inspired by the wax portrait in the Museo della Zecca in Rome (illustrated Stefanelli, vol.2, no.144) and was complete by February 1832, the date appearing on the present bust. It conforms to Pistrucci's favoured herm type truncation used in all his portraits. There is no record of Pistrucci having carved a marble version and a document dating to 1910 states on the authority of Makins that no more than six plaster casts were made. The original mould was sold at Pistrucci's studio sale after his death in 1855 (untraced). Another version of the bust is mentioned in a letter Paganini wrote to his friend and lawyer Luigi Germi soon after its completion on 29th February 1832. In it, he told Germi that Pistrucci had given him a copy of his 'colossal' portrait, and that he would send it to Germi in Genoa. Although de Courcy's asserts in her seminal 1957 Paganini biography that this bust was 'probably lost in transit', it may be possible to identify it with the plaster cast mentioned as untraced in the 1955 Pistrucci exhibition in Rome but which Stefanelli (vol.1, p.37, no.3) states was previously in the Town Hall of Genoa. This is probably the same bust that was accidentally destroyed in the 1980's after its transfer to the Paganini Conservatoire. A privately held document dated 7th February 1910 marks the first reference to the present bust and establishes the identity of its first recorded owner. It is also interesting for asserting that the bracket, included in the present lot, was also of Pistrucci's design. It states: The late Mr. Makins who was one of the officials of the Royal Mint presented me with the life-size bust of Paganini by Benedetto Pistrucci... [he] told me that it was Pistrucci who designed the George and Dragon on our coinage and that he made only six examples of the Paganini bust and that mine had the original bracket which was also of his design. A fascinating account of the day when Paganini sat to Pistrucci was recorded by the portrait painter Daniel Maclise in 'The Court Journal' of 1st December 1832. Maclise recalled: I went to his apartment in the Regent's Quadrant and found Paganini preparing to sit for his bust by Benedetto Pistrucci. Signor Filippo Pistrucci [Benedetto's brother] then arrived... Fears were expressed that a winter in this country might prove too rude a shock for Paganini's feeble frame. [Paganini] laughed, and turning his head from the modeler towards me, said to F[ilippo]: 'I believe Signor M[aclise] will never die; for he has already passed forty winters here...'. Soon afterwards Paganini fell asleep, through fatigue so disagreeably familiar to all sitters for a bust. Maclise added: Whilst Paganini was in position for his bust, Signor Pistrucci remarked to me: 'What a fine head for a study by Vandyke!'. RELATED LITERATURE Mostra di Benedetto Pistrucci (1784-1855); de Courcy; Broli Stefanelli, vol.1, p.37; Milano & Trusted, pp. 9, 19-20, 23; Andrew McGee, Paganini: The Man, the Music and the Legend, [forthcoming]

        Sotheby's
      • A CARVED MARBLE PRESENTATION PIECE
        Jun. 10, 2004

        A CARVED MARBLE PRESENTATION PIECE

        Est: £7,000 - £10,000

        BY BENEDETTO PISTRUCCI (1784-1855), 1829 Carved in the round with various images including a lion's head, various profile portrait medallions of men and women, images of caged beasts, a chained male figure, Hercules seated before an oak tree and Cerberus; inscribed beneath the lion's head 'ROYL MINT PRIMO ESERCIZIO DI BENEDETTO PISTRUCCI NEGL' ANNI I PIU INFELICI DI SUA VITA 1829'; on a later rectangular black marble plinth. Minor chips, losses and repairs. 12 1/2 in. (31.8 cm.) high

        Christie's
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