Ponce JACQUIO (vraisemblablement Rethel, vers 1515 - Paris, - Lot 159

Lot 159
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Result : 1 460 500EUR
Ponce JACQUIO (vraisemblablement Rethel, vers 1515 - Paris, - Lot 159
Ponce JACQUIO (vraisemblablement Rethel, vers 1515 - Paris, 1570) The thorn puller 1 460 500 € (Result with expenses) A large bronze statuette with a varnished patina, representing a young undressed woman pulling a thorn out of her foot. Italy, 16th century. (Small scratches, small casting defect, filing under the right knee). Height: 25 cm - Width: 22,10 cm - Depth: 11,9 cm On a molded black marble base. Estimate on request Ponce Jacquio, known as "Maitre Ponce", is the only French sculptor mentioned, under the name of Ponzio, by the 16th century historian Vasari. Probably born in Rethel around 1515, he trained in Italy as a sculptor and stucco artist, where he was a member of the Society of Saint Luke in Rome. He worked there between 1553 and 1556 for Cardinal Giovanni Ricci in the Sacchetti Palace. Returning to France, he was the collaborator of Androuet du Cerceau, Germain Pilon and Primaticcio, with whom he worked in particular for Fontainebleau, the Tuileries, and the tombs of François I, Henri II and Catherine de Médicis in Saint-Denis. He also responded to private commissions such as for the Hotel de Rocquencourt, for the castle of Meudon of the Cardinal of Lorraine, for the Count of Dammartin at the castle of Verneuil in 1560, for Parisian fountains and even for fireplace mantels in 1562 and 1564. In France, he lived in rue Montorgueil in Paris, in Montauban in 1566, then in a house in faubourg Saint-Marcel near the Gobelins bought in 1567, and finally in rue de la Grande Truanderie in Paris where he died in 1570. Another bronze of the same subject but much smaller and of rather rustic workmanship, also dating from the Renaissance, acquired in 1910 from the Whitecombe Greene collection, is preserved in the Musée du Louvre (OA 6416). It is a rare statuette intended for an amateur cabinet, a fashion common in Italy since the 16th century. The novelty is that the female canon becomes more realistic, less slender and quasi-erotic. It can be contemplated from all sides. The relationship with the "Venus in the bath".
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