Friday, June 29, 2012

ICONOGRAFIA OPERISTICA ITALIANA: Enea e Didone -- J. B. German, Aeneas taking leave of Dido -- bronze sculpture

Speranza


Bronze Sculpture; Germain (Jean-Baptiste), after, Aeneas Taking Leave of Dido, 36 inch.
Category: sculpture
Type: bronze
Origin:
Year: 1870 - 1900
A late 19th century French bronze sculptural group of "Aeneas Taking Leave of Dido", after Jean-Baptiste Germain (French, 1841 to 1910), signature inscribed on right top surface of base, title incised on front molding, extensive remains of gilding, on a Rouge Royale marble rotary base (stamped "depose C.K." on the central bearing); together with a cylindrical giallo antico marble pedestal, molded capital and plinth.

antiques price guide, antiques priceguide, sculpture, , A late 19th century French bronze sculptural group of Aeneas Taking Leave of Dido, after Jean-Baptiste Germain (French, 1841 to 1910), signature inscribed on right top surface of base, title incised on front molding, extensive remains of gilding, on a Rouge Royale marble rotary base (stamped depose C.K. on the central bearing); together with a cylindrical giallo antico marble pedestal, molded capital and plinth.<br><br> Note: The exceptionally detailed and sensitive modeling of this monumental group, together with its masterly chasing, combine to create an intensely poignant image of this famous scene from Virgil's Aeneid, in which Aeneas' sense of mission, for the foundry of Rome, causes him to abandon his love for the Queen of Carthage.
Jeane-Baptiste Germain, bronze figure, Aeneas Taking Leave of Dido; image credit on full record



antiques price guide, antiques priceguide, sculpture, , A late 19th century French bronze sculptural group of Aeneas Taking Leave of Dido, after Jean-Baptiste Germain (French, 1841 to 1910), signature inscribed on right top surface of base, title incised on front molding, extensive remains of gilding, on a Rouge Royale marble rotary base (stamped depose C.K. on the central bearing); together with a cylindrical giallo antico marble pedestal, molded capital and plinth.<br><br> Note: The exceptionally detailed and sensitive modeling of this monumental group, together with its masterly chasing, combine to create an intensely poignant image of this famous scene from Virgil's Aeneid, in which Aeneas' sense of mission, for the foundry of Rome, causes him to abandon his love for the Queen of Carthage.
; image credit on full record
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