Lot 6. Attributed to Maso Finiguerra (Florence, 1426-1464), Hercules and Antaeus, brass; 25.5 cm high; 33.5 cm high, overall. Price realised USD 2,470,000 (Estimate USD 600,000 – USD 1,000,000). © Christie's 2024

on a polychrome and gilt-walnut base with the Ricasoli coat of arms, late 15th century, with a circular ink export stamp to the underside.

Provenance: Albertaccio Corsini (1460-1545) who married Lucrezia di Rinieri Ricasoli in 1486, and by descent.
with Giovanni Pratesi Antiquario, Florence, acquired from the heirs of the above.
with Patricia Wengraf, London (then trading as Alex Wengraf Ltd.), acquired from of the above, 1998.
Acquired from the above, 1998.

Literature: P. Wengraf, ed., Renaissance & Baroque Bronzes from the Hill Collection, exh. cat., New York, 2014, no. 3, pp. 90-99.

Exhibited: New York, The Frick Collection, European Bronzes from the Quentin Collection, 28 September 2004-2 January 2005, pp. 54-67, no. 1.
New York, The Metropolitan Museum of Art, 2017-2021, on long-term loan, no. 2017.40.10.

Note: When the present bronze was included in the Frick exhibition in 2004⁄2005 it was anonymously attributed to a north Italian artist of the early 16th century. However, subsequent research by Wengraf on another cast of the composition in the Hill collection (loc. cit) has resulted in an attribution to the Florentine goldsmith, niellist and draughtsman Maso Finiguerra (1426-1464). In her entry for the Hill bronze, Wengraf discusses the history of sculptural representations of the battle of Hercules and Antaeus, in particular the tradition of both the ‘chest to chest’ and ‘back to chest’ depictions. Her conclusion that ‘back to chest’ representations – such as the present example - existed in Florence much earlier than previously believed, opened the door to a wider range of artistic possibilities. Ultimately, it was stylistic comparisons to both drawings by Finiguerra as well as to several casts of the bronze known variously as Marsys or the Gnudo della paura (frightened nude man) that led to the attribution to Finiguerra. His predilection for emotionally expressive compositions, strong silhouettes and attenuated limbs would appear to confirm this attribution.

Apart from its compositional beauty, the present bronze is also particularly notable for the preservation of its 15th century parcel-gilt wood base which formerly bore the arms of the Corsini and Ricasoli families. This must surely refer to the couple – married in 1486 – Albertaccio Corsini and Lucrezia di Rinieri Ricasoli. Their ownership further strengthens the hypothesis of a Florentine origin for the bronze.

The battle of Hercules and Antaeus is one of the Twelve Labours of Hercules. Hercules was able to overcome the Libyan giant Antaeus - the son of Poseidon and the earth goddess Gaia – by realising that he could defeat his opponent by lifting him from the ground, thereby depriving him of the strength provided by his mother.