The Frisky Satyr

A SATYR HELD BY TWO PUTTI BEFORE VENUS

This terracotta is part of the corpus of "Clodionesque" works. Among the sculptors who were greatly influenced by Clodion, we can mention Barthélémy-François Chardigny (Rouen, 1757-Paris, 1813). Student of Christophe-Gabriel Allegrain and Augustin Pajou, First Prize of sculpture in 1782 and resident-artist in Rome, Chardigny proves a great technical mastery and a particular way to treat the surface on researching effects blending realism and idealization. The bust of Claude-François Achard, around 1791(plaster imitating terracotta, Marseilles, Academy of Sciences, letters and arts, Inv. No 69) recalls our group, notably the softness its modeling and the realism that emerges, along with the attention paid to the rendering of matter. A few years later, Chardigny executed the two terracotta representing Bacchus and Ariane Reclining (dated 1802, Paris, Drouot, 20 March 1992, lot 54). If his approach evolved endlessly, Chardigny retained his inkling for the depiction of details and the constancy of certain iconographic elements such as the tambourines and cistus blossoms here present.

Attributed to Giovanni Bonazza (1654-1736) Italian, Padua, circa 1700 Satyr and Nymph

A Roman Marble Head of a Satyr, circa 2nd Century A.D.

AN ITALIAN FRUITWOOD TRIUMPH OF BACCHUS PANEL, LATE 19TH CENTURY

SATYR EMBRACING A NYMPH, AFTER PETER-PAUL RUBENS

AFTER CLODION (1738-1814), FRENCH, FIRST HALF 19TH CENTURY, INFANT SATYR RUNNING WITH A CUP INFANT SATYR RUNNING WITH A BIRD'S NEST

Clodion (French, 1738–1814). Pair of Bacchic Groups with Nymph, Satyr and Infant, ca. 1775.

10) Ex-libris by Norman Lindsey

Stefano della Bella, Study of a Satyr, 1647

Illustration from The rose of Venus. Handwritten by a devotee and illustrated by various unknown artists. Diosa Venus Immortal Reina del Universo. Tangier 1938