FRANCE or ITALY between 1550 and 1650 The Rape... Lot 12

FRANCE or ITALY between 1550 and 1650 The Rape of the Sabine Women Bas-relief in white Carrara marble H. 55 cm - W. 95.5 cm - D. 3 cm AL-EJ Damage and missing part, restoration Provenance: private collection, France Some works are not easily pierced. Such is the case with this important marble relief, which has not found a consensus among the 16th and 17th century specialists who have kindly agreed to study "its case". The most we can say is that this fine work is a veritable epitome of Renaissance art. Crafted in fine Carrara marble, the relief presents an ambitious and abundant composition of the Abduction of the Sabine women, in the spirit of antique reliefs that promote a "politics of images" by playing a central role in the narrative of a patron's story. The relief as a whole reads like a highly scripted frieze, with several distinct planes and alternating high and low reliefs. General Romulus, founder and first king of Rome, wearing a helmet topped by an eagle, gives the signal to his army. The scene combines groups of horsemen and infantrymen seizing young women in a general uproar. An old lady on her knees implores the soldier on the left, while in the center a woman protects her young daughter. An astonishing pediment adorned with two river gods, perhaps the Tiber and the Arno, seems to situate the scene in Rome. The bold use of foreshortening suggests that the initial location was high up, which is supported by the format and thinness of the panel, slimmed down to lighten its weight. The maniera all'antica is visible in the choice of groups: one might be tempted to see in them the inspiration of painted or engraved models, but none have yet been found. The scene is a pure and fascinating invention of the artist, in which some see the influence of Leonardo da Vinci's Battle of Anghiari, Rafael's fresco of the Battle of Milvian Bridge, others an influence of the ancient Niobides group or engravings after frescoes by Polidoro da Caravaggio. Admiring this work, one dreams of Italy, particularly Florence and Pierino Da Vinci's marble reliefs or Giambologna's bronze one that adorned the pedestal of his famous group in the Loggia dei Lanzi. The assimilation of the Mannerist lesson is unquestionable, and we turn to Primaticcio and the Fontainebleau School. We pause for a moment to admire the magnificent alabaster reliefs representing the triumph of the Duke of Guise, created by Domenico Florentino for his tomb. But this mythical subject from the History of Rome was just as popular in the 17th century: the imploring old woman to the left of the scene brings Poussin's characters to mind. The ambitious composition suggests a possible Roman Baroque influence, but the exaggerated attitudes of the figures also point to Genoa. The particular shape of the panel (altered at a later date?) could give us an indication of its function: a scene forming part of a cycle extolling the history of Rome, such as those painted on the façades or inside the homes of Roman or Florentine patricians in the 16th century. Or a battle scene highlighting the political role of a prince, like the battle scenes on the façade of the Château du Grand Jardin in Joinville? Or is it a mantelpiece decoration, as the French sculptor David Bertrand later executed in 1669 for the Hôtel de Luynes in Paris? This relief is still a mystery. Only one thing is certain: the artist, today anonymous, tomorrow undoubtedly famous, invites us on a journey.