Lot 223
Lot 223
PROVENANT D'UNE COLLECTION SUISSE
ANTONIO FRILLI (1830-1902), D'APRÈS ANTONIO CANOVA

Vénus italique

Price Realised EUR 8,820
Estimate
EUR 5,000 - EUR 7,000
Estimates do not reflect the final hammer price and do not include buyer's premium, any applicable taxes or artist's resale right. Please see the Conditions of Sale for full details.
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ANTONIO FRILLI (1830-1902), D'APRÈS ANTONIO CANOVA

Vénus italique

Price Realised EUR 8,820
Register
Price Realised EUR 8,820
Register
Details
ANTONIO FRILLI (1830-1902), D'APRÈS ANTONIO CANOVA
Vénus italique
marbre, signé "A.FRILLI FIRENZE", reposant sur un socle postérieur en matière composite ; accidents, restaurations et salissures
H. 157 cm (6134 in.), H. totale : 208 cm (8178 in.)
Provenance
Collection particulière, Suisse.
FURTHER DETAILS
A MARBLE FIGURE OF 'VENUS ITALICA', BY ANTONIO FRILLI, AFTER A MODEL BY ANTONIO CANOVA

The Venus Italique by Antonio Frilli (1830-1902) was created after the Venus Italique commissioned from Antonio Canova (1757-1822) in 1802 by the Prince of Etruria, Ludovico de Bourbon. The Venus de' Medici (Florence, Uffizi Gallery, inv. 224) made in the 1st-century BC, had been requisitioned by the French authorities. To replace it, Canova commissioned a sculpture. Flattered to have been chosen to replace such a masterpiece, Canova, by then an accomplished artist, insisted on being allow to reinterpret this Hellenistic model. In 1812, his final composition perfectly combines his compositional creativity whilst also quoting from Antiquity.
Brought to you by
Bérénice VerdierAssociate Specialist
A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.View condition report

Lot Essay

La Vénus Italique d’Antonio Frilli (1830-1902) a pour modèle celle que le prince d’Étrurie, Ludovic de Bourbon, commande à Antonio Canova (1757-1822) en 1802. Alors que la Vénus Médicis (Florence, Galerie des Offices, inv. 224) datant du Ier siècle av. J.-C. était réquisitionnée par les autorités françaises, ce dernier lui commande une sculpture pour s’y substituer. Bien que flatté d’avoir été choisi pour remplacer un tel chef-d’œuvre, Canova, alors artiste accompli, insiste pour pouvoir réinterpréter ce modèle hellénistique. En 1812, la composition finale qu’il livre, entre création personnelle et citation de l’Antique, rencontre un véritable succès.

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Condition report

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