Lot 76: A CARVED MARBLE PRESENTATION PIECE

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

COMPARATIVE LITERATURE:
L. Forrer, Biographical Dictionary of Medallists Coin-, Gem-, and Seal-Engravers Mint-Masters with references to their works B.C. 500-A.D. 1900, London, 1909, IV, p. 593.
R. Gunnis, Dictionary of British Sculptors 1660-1851, London, 1951. J. Craig, The Mint - A History of the London Mint From A.D. 287 to 1948, Cambridge, 1953, pp. 296-7.
Exhibition catalogue, Mostra di Benedetto Pistrucci (1784-1855), Palazzo Braschi, Roma, 10 Dec. 1955 - 10 Jan. 1956.

FROM THE COLLECTION OF THE LATE PROFESSOR J. R. LANDER

Benedetto Pistrucci (1784-1855) was as distinguished a gem engraver and medallist as he was a sculptor, and for the first half of the 19th century he was considered to be among the most influential engravers in Europe. He first achieved prominence in Rome, but after short spells in Florence and Paris he eventually moved to London, in 1815, where he remained until his death.

His talents were well-recognised in England and in 1817 he surpassed William Wyon to become Chief Engraver at the Royal Mint. Pistrucci's recalcitrant nature, however, proved to be his downfall after refusing to use Francis Chantrey's marble bust of George IV as the model for coinage in 1828. Wyon was subsequently promoted and Pistrucci demoted to second engraver.

It is shortly after this that the headstrong Pistrucci carved the present lot, placing on it an inscription stating that he carved it negl' anni i piu infelici di sua vita (in the unhappiest years of his life). While the function and purpose of the piece is not clear, the artist has presented the onlooker with a mixture of images relating to his life work and possibly his anguish. Included are symbolic representations of Hercules seated on his pelt, caged beasts, a chained man and Cerberus guarding the gates of Hades. In addition to these are various profile portrait reliefs of a Canova-esque bacchante, George IV and another unidentified male figure. This juxtaposition of classical elements with contemporary images is open to interpretation, but it may be that Pistrucci was placing together images that were of artistic, or aesthetic, importance to him - for example his patrons' portraits, the echoes of Canova and via the Hercules his vision of the Belvedere Torso as a completed work. On the other hand, it may also be a metaphor of his insecurities as an Italian working in the English establishment - Hercules representing strength, courage and wisdom, the lion's mask a reference to his fortitude and endurance, the seductively recumbent woman perhaps a reference to his passion to create. Either way, the present lot is an enticing insight into the psyche of a significant, although troubled, artist.

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis