ITALIAN, ROMAN MID 16TH CENTURY: GUGLIELMO DELLA PORTA (C.1500-1577) AND HIS CLOSE CIRCLE ITALIAN, ROMAN MID 16TH CENTURY: GUGLIELMO DELLA PORTA (C.1500-1577) AND HIS CLOSE CIRCLE CHRIST AT THE COLUMN silver figurine, with minutely granulated surface to the skin, 8cm (3 1/8 in.) high, standing lashed against a silver-gilt fluted Corinthian column on a rectangular plinth., 13 cm. (5 1/8 in) high. The figure is set diagonally at 45 degrees to the square plinth below, mounted in its original, late Mannerist, ebony tabernacle, with silver-gilt appliques of (above) the Dove of the Holy Spirit descending against an integral pattern of rays of light; with (upper corners and below centre) three Cherubim; and the tabernacle flanked by a pair of repousse metal volutes, formerly silvered. Though slightly more ornate, this ebony tabernacle is closely related in style to that of a silver Mount Calvary in the Monastery of El Escorial, Madrid (inv. 10048054), see Coll & Cortes, 2012, p.109, fig 57. PROVENANCE: New York, Collection of the late Michael Hall., his sale Christie’s, New York…; Private collections. ADDITIONAL ATTACHED IMAGES: Image 2. - Victoria & Albert Museum, Image 3. - Fitzwilliam Museum, Cambridge. Image 4. Detail from a folio with five sketches for the Flagellation of Christ Fig. Image 5. another single sketch, more closely related to the present variation on the theme. Image 4 and 5 both from the Museum Kunstpalast, Duesseldorf, Small Sketchbook, folios 82 and 93. Image 6. ‘Coll & Cortes’ Christ, silver. Image 7. Michelangelo, Christ the Redeemer, Michelangelo, Christ the Redeemer, marble, San Vincenzo Martire, Bassano Romano. COMPARATIVE LITERATURE: W. Gramberg, Die Düsseldorfer Skizzenbücher des Guglielmo della Porta (Berlin, 1964)H.-W. Kruft, “Porta, della”, in J. Turner [ed.], The Dictionary of Art, London, 1996, vol. 25, pp. 255-57V.J. Avery, Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge, exh.cat. Daniel Katz Gallery, London, 2002, pp. 151-53E.J. Olszewski, "Guglielmo della Porta”, in Antonia Bostrom [ed.], The Encyclopedia of Sculpture, New York/London, 2004, pp. 1333-36R. Coppel, C. Avery, M. Estella, Guglielmo della Porta: A Counter-Reformation Sculptor, exh. cat., Coll & Cortes, Madrid, 2012, pp. 40-41, fig.18; and pp.118-21, figs. 68-69. Examples with Christ in a dramatic contrapposto1] Cambridge, Fitzwilliam Museum: Bequeathed by C.B. Marlay, 1912, No. Mar M.265-1912(Avery, V. 2002, No. 19, pp. 151-153) – see Fig.22] Florence, Museo Nazionale del Bargello: Carrand Bequest, No. 752, silver, 9.5cm high (see R. Coppel, C. Avery & M. Estella, Madrid, 2012, Fig 45, p. 88)3] Formerly in the collection of Mr George Durlacher of Hilcote, Lancaster Road, Wimbledon, and then of his widow (sold Sotheby’s, 9 November 1938, lot 100) Victoria Avery in her 2002 catalogue of bronzes from the Fitzwilliam Museum, Cambridge, wrote of their example as follows (Image.3): ‘This unpublished silver figurine is clearly derived from a model by Guglielmo della Porta, a Lombard sculptor and bronzist who trained in Milan under his father, and then worked in Genoa, before settling in Rome where he found great favour with Pope Julius III Farnese. In 1547 Guglielmo was appointed to the Office of the Papal seal, a sinecure that he retained until his death in 1577. The Fitzwilliam Christ is identical in type, elongated proportions and pose to the free-standing protagonist of a multi-figural composition in high relief of the Flagellation of Christ in the Victoria & Albert Museum, London (see image.2) [as is the formerly Durlacher example]. The high relief composition is derived from a folio of five rapidly executed, but sensitive, sketches begun in chalk and finished in pen and ink for the Passion of Christ (Gramberg, 1964, Small Sketchbook, p. 82). Two represent scenes of the Flagellation, while three are excerpts of the focal figure of Christ at the Column. That on the lower right is closest to the figure as sculpted (Image 4). However, Rosario Coppel in the comprehensive catalogue of works by Della Porta presented in 2012 by Messrs Coll & Cortes (figs. 35 & 48-49) was the first person to describe a separately made silver figurine of virtually the same size (8.6cm) as ours (8cm) in another, larger, heterogeneous rendering of the Flagellation set within an octagonal ebony frame with a variety of ornaments. She also drew attention to the existence - on a slightly later page - of a separate sketch for a more soberly posed figure which accords more closely with the ‘Coll & Cortes’ and with the present version (Image 6), save for the fact that the Saviour’s hands are now lashed behind his back, presumably to avoid confusion with the folds of his loincloth in front. These figurines of Christ are not so agonizingly twisted about under the hail of blows from his savage executioners as in the narrative scenes or single figures discussed above. In a separate essay Charles Avery (pp. 128-29) remarked on the influence on Della Porta of Michelangelo’s monumental marble sculpture, noting in this case the first version (1516) – only recently rediscovered in a minor church – of his Christ the Redeemer for Santa Maria sopra Minerva, Rome (image 7). Indeed, the pose of the lower part of our figurine is almost in mirror-image to that of Michelangelo’s rendering in marble of his not dissimilar figure. It now invites contemplation and adoration from the beholder as ‘God made Man’. The present, individual, figurine of Christ at the Column in its purposely designed tabernacle, when viewed without the glass, would arguably prove to have an even more minutely chased surface, differentiating Christ’s skin from the fabric of his loincloth.
Attributed to GIUGLIELMO DELLA PORTA (Lombardy, 1500 - Rome, 1577). "Christ crucified". Bronze and ebony base. Measurements: 43 x 36 x 10 cm (Christ); 121 x 54 x 27 cm (total). Crucified Christ in round bulk made in gilded bronze seated on an ebony base and cross. As for the sculpture, in this case we observe how the sculptor uses only three nails, thus accentuating the dramatism of the scene, which is enhanced by the elongation of the upper extremities that reflect how Christ supports the entire load of his body, with his face down in exhaustion. Stylistically, there are various characteristics typical of Guglielmo della Porta's torso, the way the cloth is made and the curvature of the body with the legs bent to the right. Guglielmo della Porta was a renowned Italian sculptor, architect and restorer of Mannerism. Della Porta was the son of Cristoforo della Porta and his wife Caterina. He received his artistic education from his uncle Giovanni Battista della Porta in Genoa. He worked for the cathedral of Genoa during his early years of artistic training already in 1531 together with his brother Giacomo and under the direction of his uncle on the statues of the chapel of St. John the Baptist. In 1537 he moved to Rome and became a disciple of Michelangelo, thus obtaining a greater number of commissions. An example of this is the bust he made for Pope Paul III in 1547, after his death, and the tomb of St. Peter, which was his main work, which occupied him from 1555 to 1575, although it was later revised by Bernini. His career as a sculptor at the court of the Farnese was due to his contact with Mario Maccarone, the supervisor of papal building projects. In 1540, as Della Porta he designed the tomb of Vincenzo degli Ubaldi in the church of Santi XII Apostoli. Della Porta was a lay brother of the Cistercians and was called from 1547 to the papal coinage. Among other things, his studio was commissioned to complement the legs of the torso of Farnese, which was found in 1546. The result was so convincing to his contemporaries that following Michelangelo's own advice he was approved to link the ancient limbs of the statue, which had been excavated. Today his works can be found in different places of great historical and artistic relevance, such as his sculpture of Moses in San Lorenzo de Fiori, or for example his works in the Giuliano chapel of the cathedral of Genoa, in Santa Maria del Popolo, and his bust of Paul III which is in the Museum of Capodimonte.
Measurements: 42 x 36 x 9 cm. Made around 1569-1577. In patinated bronze. Bibliography: “Aleardo Noli, Le grandi famiglie di Porlezza. I “Della Porta”, on the site of the Commune of Porlezza. Property of an important private collection, Spain. Lot not subject to reservation.
La Mise au tombeau du Christ Plaque en alliage métallique Porte l'inscription « Ecce locus ubi posuerunt eum » Dim. : 23,5 x 18,2 cm Traces d'oxydation
Guglielmo della Porta (Porlezza h. 1515- Rome 1577) "Crucified Christ" Rome h. 1569-1577 Made in silver (the cross has been lost) in elegant contrapposto it is represented dead with three nails and great anatomical detail. According to a study by Rosario Coppel, there is documentation on della Porta's activity in Rome in 1569, where he made crucified figures of different sizes in silver and other metals. One of his crucified is in the Kunsthistorisches Museum in Vienna. The same model of Christ appears in a relief created by della Porta and cast by Antonio Gentilii that was a gift from Gregory XIII to Bianca Capello, Grand Duchess of Tuscany, who later gave it to Philip II for the Monastery of El Escorial. Another of the Christs attributed to della Porta, in silver, is in the Archaeological Museum of Madrid. Of della Porta's works in silver, few copies have survived, despite having been made by important figures of the time. Most of these pieces were cast by Antonio Gentili of Faenza, who arrived in Rome in 1549-50 and was della Porta's best assistant. Measurements: 20 x 19 cm.
Sculptures DELLA PORTA Guglielmo (1515 - 1577). Attribué à. "Christ en croix" maniériste en bronze doré. Attribué à Guglielmo Della Porta. Epoque: XVIème. Reposant sur un important crucifix en bois noirci serti de cabochons en cristal de roches (?) biseauté appliqués sur fond de tissu rouge, agrémenté de plaques en argent repoussé. Branches de la croix terminées de "Têtes d'angelots" en bronze doré. Niche contenant une "Vierge à l'Enfant" en bois sculpté. Travail italien. Epoque: XVIIème. (*). H.(Christ):+/-24cm. H.(Crucifix):+/-123,5cm.
GUGLIELMO DELLA PORTA (Italy, ca. 1550-1577). "The Flagellation. Ivory and ebony. There are flaws in the carving. Work reproduced in Margarita Estella's publication. Measurements: 10 x 4 x 3 cm; 20 x 31 x 11.5 cm (total). The whiteness of the ivory, in contrast with the intense black of the ebony, give a great sobriety, elegance and contained emotion to this scene, whose theme shows one of the most dramatic moments in the life of Christ. Situated in the centre of this sculptural group, the figure of Jesus does not show the pathos typical of this biblical passage, but is presented in a graceful manner, with a classical curvature, in the same way as the figures flanking the sides, although in this case they do appear more forced than the carving of Jesus. Throughout the History of Art, and especially from the Middle Ages onwards, the representation of the Flagellation of Christ tied to the Pillar has been one of the themes most frequently treated by artists, making it one of the moments in which they could best express the suffering of Christ during the Passion. It also served as a source of inspiration for numerous mystical writers who recreated the crudeness of the moment, even recounting the number of lashes Christ received, sometimes with exaggerated figures such as the 5475 blows Saint Bridget tells us about. Moreover, this iconography was very powerful in fostering popular devotion, as the faithful are moved by a man who is unjustly scourged. Stylistically we observe this iconographic typology for the exaltation of the beauty of the body of a young man, a figure that stands out from the rest because he is stripped of his clothes. Guglielmo della Porta was a renowned Italian sculptor, architect and restorer of Mannerism. The son of Cristoforo della Porta and his wife Caterina, he received his artistic education from his uncle Giovanni Battista della Porta in Genoa. He worked for the cathedral of Genoa during his early years of artistic training as early as 1531 together with his brother Giacomo and under the direction of his uncle on the statues in the chapel of Saint John the Baptist. In 1537 he moved to Rome and became a pupil of Michelangelo, thus gaining a greater number of commissions. An example of this is the bust he executed for Pope Paul III in 1547, after his death, and the tomb of Saint Peter, which was his principal work, which occupied him from 1555 to 1575, although it was later revised by Bernini. His career as a sculptor at the Farnese court was due to his contact with Mario Maccarone, the overseer of papal building projects. In 1540, as Della Porta he designed the tomb of Vincenzo degli Ubaldi in the church of Santi XII Apostoli. Della Porta was a lay brother of the Cistercians and was called from 1547 to the papal coinage. Among other things, his studio was commissioned to complement the legs of Farnese's torso, which was found in 1546. The result was so convincing to his contemporaries that on Michelangelo's own advice he was approved to link the ancient limbs of the statue, which had been excavated. Today his works are to be found in various places of great historical and artistic significance, such as his sculpture of Moses in San Lorenzo de Fiori, or for example his works in the Giuliano chapel of the cathedral of Genoa, in Santa Maria del Popolo, and his bust of Paul III which is in the Museum of Capodimonte.
Attribué à Fra Guglielmo DELLA PORTA (circa 1515 - 1577) Le christ crucifié Sculpture en bronze doré et argenté présenté sur une croix dans un cadre en ébène filet de laiton sur des plaques façon écaille rouge. Christ : Haut. 36 cm - Larg. 28 cm Cadre : Haut.73 cm - Larg. 48 cm Issu d’une célèbre famille de sculpteurs originaires des Lacs Lombards Guglielmo Della Porta (1510-1577) s’affirme à Rome grâce à Michel-Ange avec qui il se lia d'amitié dans les années 1530. Il réussit à faire de sa pratique un pôle d'attraction pour les jeunes artistes aux spécialités diverses. Les personnes talentueuses dont il s'entoura permirent à Della Porta de réaliser des projets allant de grands ensembles architecturaux comme le tombeau du pape Paul III dans la cathédrale Saint-Pierre à des ouvrages en métal précieux comme la série de reliefs en bronze doré et en argent de la Flagellation (par exemple Victoria et Albert Museum inv. n° A.1-1977) accaparant le marché des commandes grandes et petites à Rome. Sous la tutelle de Della Porta des sculpteurs vedettes tels que Giambologna et Willem van Tetrode ont perfectionné leurs talents de concepteur et leurs capacités techniques. LITTÉRATURE J. Montagu Or argent et bronze. Metal sculpture of the Roman Baroque New Haven/Londres1996 pp. 35-46 P. Cannata Sculpture en bronze. Museo Nazionale del Palazzo di Venezia Rome2011 pp. 142-154 R. Coppel « Guglielmo della Porta à Rome » et « Catalogue » R. Coppel C. Avery et M. Estella Guglielmo della Porta. Un sculpteur de la Contre-Réforme inv. Col et Cortés Madrid2012 pp. 28-111
Italian Christ of the mid-16th century. Following models by GUGLIELMO DELLA PORTA (Italy, ca. 1550-1577). Blued bronze sculpture. Measurements: 23 x 18.5 cm. The Christ we present here follows the model of the crucifix by Sebastiano Torrigiani, derived in turn from a model by his master Guglielmo della Porta, found in the church of San Giacomo Maggiore in Bologna. Thus, we are faced with the figure of Christ crucified with only three nails, accentuating the drama of the scene. This theatricality is enhanced by the elongation of the upper limbs, which support the entire weight of the protagonist's body. Guglielmo della Porta was a renowned Italian sculptor, architect and restorer of Mannerism. The son of Cristoforo della Porta and his wife Caterina, he received his artistic education from his uncle Giovanni Battista della Porta in Genoa. He worked for the cathedral of Genoa during his early years of artistic training already in 1531 together with his brother Giacomo and under the direction of his uncle on the statues of the chapel of St. John the Baptist. In 1537 he moved to Rome and became a disciple of Michelangelo, thus obtaining a greater number of commissions. An example of this is the bust he made for Pope Paul III in 1547, after his death, and the tomb of St. Peter, which was his main work, which occupied him from 1555 to 1575, although it was later revised by Bernini. His career as a sculptor at the court of the Farnese was due to his contact with Mario Maccarone, the supervisor of papal building projects. In 1540, as Della Porta he designed the tomb of Vincenzo degli Ubaldi in the church of Santi XII Apostoli. Della Porta was a lay brother of the Cistercians and was called from 1547 to the papal coinage. Among other things, his studio was commissioned to complement the legs of the torso of Farnese, which was found in 1546. The result was so convincing to his contemporaries that following Michelangelo's own advice he was approved to link the ancient limbs of the statue, which had been excavated. Today his works can be found in different places of great historical and artistic relevance, such as his sculpture of Moses in San Lorenzo de Fiori, or for example his works in the Giuliano chapel of the cathedral of Genoa, in Santa Maria del Popolo, and his bust of Paul III which is in the Museum of Capodimonte.
Guglielmo della Porta (Porlezza c. 1515- Rome 1577) "Crucified Christ" Rome c. 1569-1577 Made of silver (the cross has been lost) in an elegant contrapposto it is represented dead with three nails and great anatomical detail. According to a study by Rosario Coppel there is documentation on the activity of della Porta in Rome in 1569, where he made crucifieds of different sizes in silver and other metals. One of his crucifieds is in the Kunsthistorisches Museum in Vienna. The same model of Christ appears in a relief created by della Porta and cast by Antonio Gentilii that was a gift from Gregory XIII to Bianca Capello, Grand Duchess of Tuscany, who later gave it to Felipe II for the Monastery of El Escorial. Another of the Christs attributed to della Porta, in silver, is in the Archaeological Museum of Madrid. Few specimens have survived of della Porta's works in silver, despite having been made by important figures of the time. Most of these pieces were cast by Antonio Gentili de Faenza, who arrived in Rome in 1549-50 and was della Porta's best assistant. Measurements: 20 x 19 cms.
RefScu61120 This high relief closely follows the composition of a relief by Guglielmo della Porta (1500/1510 Porlezza - 1577 Rome) that is today housed in the Castello Sforzesco in Milan.
* After Guglielmo della Porta (circa 1500-1577 ). The Entombment, possibly 18th century, gilt bronze relief plaquette, depicting Nicodemus and Joseph of Arimathea lowering the body of Christ into a sarcophagus as the mourning Madonna, the three Marys, and Saint John look on, before a backdrop of overgrown classical arches, 25.7 x 20.8 cm (10 x 8 ins) Qty: (1)
GUGLIELMO DELLA PORTA 1500 Italia 1577 CrucificadoItalia Arquitecto y escultor, Guglielmo Della Porta, aprendió su oficio en Génova de la mano de Giovanni Giacomo Della Porta y se trasladó en torno a 1537 a Roma, donde conoció a Sebastiano del Piombo y a Miguel Ángel Buanorrotti, con quién trabajó en la realización del sepulcro del pontífice Paulo III, colaboró en la redecoración de los apartamentos papales del castillo de Sant’Angelo y restauró el Hércules Farnese que, recientemente encontrado, ayudó a reforzar la formación clásica que Della Porta había recibido. El presente Crucificado deriva del prototipo manierista, claramente influenciado por Miguel Ángel, creado por el autor y de gran difusión. La figura de Guglielmo Della Porta domina el panorama del desarrollo escultórico de Roma en el último cuarto del siglo XVI difundiéndose su modelo de Crucificado por todo el territorio europeo. Se representa a Cristo crucificado, muerto, con la cabeza caída sobre el pecho y sujetado por tres clavos. Lleva paño de pureza bastante sencillo, recogido a su derecha. Coronado por una corona de espina minuciosamente trabajada, los rasgos de la cara, el cabello, la barba y el estudio anatómico, están trabajados con gran detalle. La delicadeza de la talla en las obras del maestro italiano está presente, donde Guglielmo acaricia cada detalle de la pieza. La plasticidad del modelado en broce aquí propuesto resalta las extremidades vigorosas y el costado marcado bajo los músculos del pecho. Las arterias en los brazos evidencian la formación del escultor en la Roma de Miguel Ángel. Bronce pavonado 30 x 28 cm Escultura, Artes decorativas
CRISTO CROCIFISSO DA UN MODELLO ATTRIBUITO A GUGLIELMO DELLA PORTA (PORLEZZA 1515 CIRCA - ROMA 1577), SECOLO XVII in bronzo dorato raffigurato secondo la tipologia del Cristo patiens, completo di cartiglio con l'iscrizione INRI, montato su croce in legno ebanizzato, alt. cm 49 A 17TH CENTURY CRUCIFIED CHRIST, CAST FROM A MODEL ATTRIBUTED TO GUGLIELMO DELLA PORTA (PORLEZZA 1515 CIRCA - ROMA 1577)
5 ANTINOÜS DU BELVÉDÈRE Attribué à Guglielmo DELLA PORTA (vers 1510-1577) Italie, fin XVIe - début XVIIe siècle Bronze doré H. 22,5 cm, L. 9,5 cm, P. 5,5 cm Cette statuette constitue une remarquable et très précoce interprétation, en réduction, de l’Antinoüs du Belvédère, l’un des plus célèbres marbres antiques découvert à Rome près du château Saint-Ange . Acquis par Paul III en 1543, l’oeuvre antique est installée dans la cour des sculptures du Palais du Belvédère aux côtés du groupe du Laocoon et de l’Apollon du Belvédère. Très vite, il connut un vif succès. Nicolas Poussin vit en lui le canon des proportions idéales et en 1683, Gérard Audran l’inclut dans son recueil des Proportions du corps humain mesurées sur les plus belles figures de l’Antiquité, destiné aux jeunes sculpteurs. Des copies et réductions furent réalisées par de nombreux artistes. Ainsi Hubert Le Sueur fit une copie en bronze pour Charles Ier d’Angleterre, Louis XIV commanda pour ses jardins des copies en marbre, dont un exemplaire en 1686 (Par Pierre I Le Gros, inv. 1850 n°9081) et un autre en bronze (fonte de Jean-Balthazar et Jean-Jacques Keller, inv. 1850 n°8919). Notre modèle peut être rapproché des travaux du sculpteur italien Guglielmo della Porta (vers 1510-1577) dont on connait plusieurs exemplaires en bronze du marbre antique. Le Detroit Institute of Arts conserve un Antinoüs du Belvédère aux caractéristiques stylistiques similaires au nôtre, hormis la présence du tronc de palmier existant sur le modèle original. D’autres versions, avec variantes, sont notamment conservées à Berlin au Staatliche Museum (inv. VK 19b), à Dresde au Grnes Gewölbe (inv. IX 76) ou encore au sein de collections particulières . 15 000 – 20 000€
GUGLIELMO DELLA PORTA PORLEZZA 1500 - 1577 ROME THE JUDGEMENT OF PARIS Pen and brown ink over black chalk, within octagonal framing lines 137 by 135 mm
