Bacchus
Attributed to John Michael Rysbrack (1684-1770)
English, mid 18th century
Provenance: Private Collection (United Kingdom)
Height: 22cm Width: 49cm Depth: 4.5cm
A finely carved white marble tablet depicting the youthful face of Bacchus (the Roman god of wine and revelry) framed by grape vines, clusters of fruit and curling tendrils. The exceptionally high quality of the carving - particularly in the deeply undercut botanical motifs and the classicising facial features - reflects the refined techniques of John Michael Rysbrack, the leading sculptor of monumental and architectural sculpture in 18th century England.
The relief also bears a striking resemblance to the central tablet of the fireplace in the Marble Hall at Clandon Park (National Trust), titled Sacrificing to Bacchus, which is securely attributed to Rysbrack and dated between 1720 and 1770.
Both works exhibit a similarly idealised face, fluid handling of hair and richly modelled grape vines in high relief. These close formal parallels, along with the classical theme and sophistication of the carving bring the attribution firmly to Rysbrack.
Much like the Clinton Park example - this relief would probably have been conceived as part of a decorative chimney-piece, aligning with the demand for Rysbrack's services to the British aristocracy.
English, mid 18th century
Provenance: Private Collection (United Kingdom)
Height: 22cm Width: 49cm Depth: 4.5cm
A finely carved white marble tablet depicting the youthful face of Bacchus (the Roman god of wine and revelry) framed by grape vines, clusters of fruit and curling tendrils. The exceptionally high quality of the carving - particularly in the deeply undercut botanical motifs and the classicising facial features - reflects the refined techniques of John Michael Rysbrack, the leading sculptor of monumental and architectural sculpture in 18th century England.
The relief also bears a striking resemblance to the central tablet of the fireplace in the Marble Hall at Clandon Park (National Trust), titled Sacrificing to Bacchus, which is securely attributed to Rysbrack and dated between 1720 and 1770.
Both works exhibit a similarly idealised face, fluid handling of hair and richly modelled grape vines in high relief. These close formal parallels, along with the classical theme and sophistication of the carving bring the attribution firmly to Rysbrack.
Much like the Clinton Park example - this relief would probably have been conceived as part of a decorative chimney-piece, aligning with the demand for Rysbrack's services to the British aristocracy.