Lot 79: A Pair of Flemish Terracotta Figures Representing Air and Fire, Signed by Jan Claudius de Cock (1667-1735), Circa 1704

Air holding a chameleon and clouds billowing behind him, Fire holding a fruit (pomegranate?) , a flaming urn by his left side, each signed J. C. de Cock on the side of the base, inscribed AYER and IGNIS on the front of each base.

measurements note heights air 10 7/8 , fire 10 5/8 in.; 27.5 and 26.6cm.

RELATED LITERATURE
J. Leeuwenberg and W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, Amsterdam, 1973, no.339A, pp. 253-4 Thomas Agnew and Sons Ltd, Sculpture and Works of Art, Oct 29 - Dec 11, 1981, no. 8, paired with a figure of Night C. Lawrence, 'The Ophovius Madonna: A Newly Discovered Work by Jan Claudius De Cock', Jaarboek van het Museum voor Schone Kunsten, 1986, pp. 273-93 H. Bussers, 'Enkele gegevens over de Antwerpse beeldhouwer Joannes Claudius de Cock (1667-1735)', Bull. Mus. Royaux B.-A., i-iii, 1992, pp. 331-42 Galerie Andre Lemaire, Paris, Choix de Sculptures, XVllle - XXe siecle, Oct.- Nov. 2004, no. 1, pp. 4 - 5 These previously unknown and unpublished sketches by de Cock are important additions to his oeuvre. Neither terracotta is dated which makes it difficult to determine if they predate the well-known marble of a Boy with Mural Crown (probably representing Africa from a series of the Continents) in the Rijksmuseum (Amsterdam, op.cit., fig.339a) made in 1704 or shortly thereafter. The Flemish sculptor Jan Claudius de Cock has long been praised for his allegorical representations of children. As early as the 18υth century, the noted biographer, Johannes van der Sanden, repeatedly wrote of the sculptor's wonderfully modelled 'kindekens'. The present pair of terracottas are the only known surviving examples by de Cock of these compositions. Van der Saden also recognized de Cock's large sculptural programs for gardens, most notably his design for William III's Prinsenhof in Breda (now destroyed). De Cock conceived his small-scale terracottas as workshop models for larger stone and marble compositions, such as those in Breda. However, their appeal as individual works of art was quickly appreciated. The quality of modelling, playful compositions and portability of these bijoux terracotta allegories appealed to collectors. According to a 1728 inventory, the art collector Anthony Grill of Amsterdam owned thirteen sculptures by de Cock, some of which he listed as 'modells', probably much like the present pair. Clearly because de Cock signed each of these statuettes he must have viewed them as autonomous works of art. These delightful representations of Air and Fire in the form of children follow de Cock's stylistic and compositional language. They each wear seemingly floating drapery, a concept also evident de Cock's drawing of the Assumption of the Virgin, as well as his signed and dated marble Boy with Mural Crown in the Rijksmuseum. These two figures also share their general conception with the Amsterdam Boy as well as a similar relationship with their attributes to the children in de Cock's War Crowning Peace (1710, Belgian private collection).