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We are pleased to announce a new and exciting partnership with @theburlingtonmagazine.
 
Together, we have established the ‘Prize for Writing on Sculpture’, sponsored by Stuart Lochhead Sculpture: an annual award supporting the development and publication of innovative, object-based research on sculpture from the Renaissance to 1900.
 
Are you an early-career scholar of sculpture looking to publish your work in the leading art-historical journal?
 
Submit a 1,000–1,500 word essay to The Burlington Magazine for the chance to win £2,500 to support your research, with publication in the journal’s annual sculpture issue plus a one year subscription.
 
Apply by Monday 4 May 2026. Link in bio for more information

We are pleased to announce a new and exciting partnership with @theburlingtonmagazine.
 
Together, we have established the ‘Prize for Writing on Sculpture’, sponsored by Stuart Lochhead Sculpture: an annual award supporting the development and publication of innovative, object-based research on sculpture from the Renaissance to 1900.
 
Are you an early-career scholar of sculpture looking to publish your work in the leading art-historical journal?
 
Submit a 1,000–1,500 word essay to The Burlington Magazine for the chance to win £2,500 to support your research, with publication in the journal’s annual sculpture issue plus a one year subscription.
 
Apply by Monday 4 May 2026. Link in bio for more information

We are pleased to announce a new and exciting partnership with @theburlingtonmagazine.
 
Together, we have established the ‘Prize for Writing on Sculpture’, sponsored by Stuart Lochhead Sculpture: an annual award supporting the development and publication of innovative, object-based research on sculpture from the Renaissance to 1900.
 
Are you an early-career scholar of sculpture looking to publish your work in the leading art-historical journal?
 
Submit a 1,000–1,500 word essay to The Burlington Magazine for the chance to win £2,500 to support your research, with publication in the journal’s annual sculpture issue plus a one year subscription.
 
Apply by Monday 4 May 2026. Link in bio for more information

The Ukrainian-born artist and sculptor Alexander Archipenko revolutionised modern art by applying Cubist principles to three-dimensional forms.

Created in 1909, this Bust of a Young Girl (Portrait de Mlle S.) is an exceptionally rare work from the artist’s earlier years. Long before he became one of the pioneers of modern sculpture, Archipenko was already experimenting with the simplified, mask-like forms that would define his style.

Measuring 38 cm high, this plaster portrait captures a young girl with elongated features and a strikingly expressive face. Viewed from different angles, her expression appears to change – from stern and introspective to subtly smiling.

The sculpture was exhibited at the groundbreaking Salon des Indépendants in Paris in 1910, before being shown in Germany and disappearing into a private collection for nearly a century.

When it resurfaced in Switzerland in 2002, extensive archival research confirmed its authenticity.

An extraordinary survival, this intimate plaster offers a rare glimpse into the formative imagination of one of the twentieth century’s most innovative sculptors.

~

~

Alexander Archipenko (1887–1964), Bust of a Young Girl (Portrait de Mlle S.), 1909, polychrome cement-based plaster, Height 38.1 cm

The Ukrainian-born artist and sculptor Alexander Archipenko revolutionised modern art by applying Cubist principles to three-dimensional forms.

Created in 1909, this Bust of a Young Girl (Portrait de Mlle S.) is an exceptionally rare work from the artist’s earlier years. Long before he became one of the pioneers of modern sculpture, Archipenko was already experimenting with the simplified, mask-like forms that would define his style.

Measuring 38 cm high, this plaster portrait captures a young girl with elongated features and a strikingly expressive face. Viewed from different angles, her expression appears to change – from stern and introspective to subtly smiling.

The sculpture was exhibited at the groundbreaking Salon des Indépendants in Paris in 1910, before being shown in Germany and disappearing into a private collection for nearly a century.

When it resurfaced in Switzerland in 2002, extensive archival research confirmed its authenticity.

An extraordinary survival, this intimate plaster offers a rare glimpse into the formative imagination of one of the twentieth century’s most innovative sculptors.

~

~

Alexander Archipenko (1887–1964), Bust of a Young Girl (Portrait de Mlle S.), 1909, polychrome cement-based plaster, Height 38.1 cm

The Ukrainian-born artist and sculptor Alexander Archipenko revolutionised modern art by applying Cubist principles to three-dimensional forms.

Created in 1909, this Bust of a Young Girl (Portrait de Mlle S.) is an exceptionally rare work from the artist’s earlier years. Long before he became one of the pioneers of modern sculpture, Archipenko was already experimenting with the simplified, mask-like forms that would define his style.

Measuring 38 cm high, this plaster portrait captures a young girl with elongated features and a strikingly expressive face. Viewed from different angles, her expression appears to change – from stern and introspective to subtly smiling.

The sculpture was exhibited at the groundbreaking Salon des Indépendants in Paris in 1910, before being shown in Germany and disappearing into a private collection for nearly a century.

When it resurfaced in Switzerland in 2002, extensive archival research confirmed its authenticity.

An extraordinary survival, this intimate plaster offers a rare glimpse into the formative imagination of one of the twentieth century’s most innovative sculptors.

~

~

Alexander Archipenko (1887–1964), Bust of a Young Girl (Portrait de Mlle S.), 1909, polychrome cement-based plaster, Height 38.1 cm

The Ukrainian-born artist and sculptor Alexander Archipenko revolutionised modern art by applying Cubist principles to three-dimensional forms.

Created in 1909, this Bust of a Young Girl (Portrait de Mlle S.) is an exceptionally rare work from the artist’s earlier years. Long before he became one of the pioneers of modern sculpture, Archipenko was already experimenting with the simplified, mask-like forms that would define his style.

Measuring 38 cm high, this plaster portrait captures a young girl with elongated features and a strikingly expressive face. Viewed from different angles, her expression appears to change – from stern and introspective to subtly smiling.

The sculpture was exhibited at the groundbreaking Salon des Indépendants in Paris in 1910, before being shown in Germany and disappearing into a private collection for nearly a century.

When it resurfaced in Switzerland in 2002, extensive archival research confirmed its authenticity.

An extraordinary survival, this intimate plaster offers a rare glimpse into the formative imagination of one of the twentieth century’s most innovative sculptors.

~

~

Alexander Archipenko (1887–1964), Bust of a Young Girl (Portrait de Mlle S.), 1909, polychrome cement-based plaster, Height 38.1 cm

In ancient Greek thought, human nature was divided between reason and instinct, embodied by Apollo and Dionysus (Bacchus), figures of order and chaos, clarity and intoxication. This exceptional late Baroque bronze by Giuseppe Piamontini embraces the latter.

A satyr dances, carrying a young companion on his back as wine spills from his cup – the emblem of Dionysian excess. Twisting forms, finely chased surfaces, and a warm, reddish-gold patina create a striking sense of movement.

Rooted in antiquity yet shaped by Renaissance and Florentine traditions, the work draws on classical prototypes while alluding to Michelangelo’s now lost ‘Mask of a Satyr’ (Fig. 2) and the fauns (Fig. 3) for the fountain of Piazza della Signoria.

One of only two known casts commissioned by the Medici and the Martelli family, the present bronze is identified with the one owned by the latter, among the most distinguished patrons of Renaissance Florence. The sculpture stands as a testament to Piamontini’s mastery and to a unique culture of collecting, scholarship, and artistic invention.
~

Giuseppe Piamontini (1644–1742), Faun Carrying a Young Satyr, model conceived in 1698, this example cast c. 1717, bronze, 78 × 32 × 25 cm
Michelangelo Buonarroti (attr.), Mask of a Faun, marble, 1489, formerly Florence, Museo Nazionale del Bargello
Bartolomeo Ammannati, Faun (from the Fountain of Neptune), bronze, 1561-1574, Florence, Piazza della Signoria

In ancient Greek thought, human nature was divided between reason and instinct, embodied by Apollo and Dionysus (Bacchus), figures of order and chaos, clarity and intoxication. This exceptional late Baroque bronze by Giuseppe Piamontini embraces the latter.

A satyr dances, carrying a young companion on his back as wine spills from his cup – the emblem of Dionysian excess. Twisting forms, finely chased surfaces, and a warm, reddish-gold patina create a striking sense of movement.

Rooted in antiquity yet shaped by Renaissance and Florentine traditions, the work draws on classical prototypes while alluding to Michelangelo’s now lost ‘Mask of a Satyr’ (Fig. 2) and the fauns (Fig. 3) for the fountain of Piazza della Signoria.

One of only two known casts commissioned by the Medici and the Martelli family, the present bronze is identified with the one owned by the latter, among the most distinguished patrons of Renaissance Florence. The sculpture stands as a testament to Piamontini’s mastery and to a unique culture of collecting, scholarship, and artistic invention.
~

Giuseppe Piamontini (1644–1742), Faun Carrying a Young Satyr, model conceived in 1698, this example cast c. 1717, bronze, 78 × 32 × 25 cm
Michelangelo Buonarroti (attr.), Mask of a Faun, marble, 1489, formerly Florence, Museo Nazionale del Bargello
Bartolomeo Ammannati, Faun (from the Fountain of Neptune), bronze, 1561-1574, Florence, Piazza della Signoria

In ancient Greek thought, human nature was divided between reason and instinct, embodied by Apollo and Dionysus (Bacchus), figures of order and chaos, clarity and intoxication. This exceptional late Baroque bronze by Giuseppe Piamontini embraces the latter.

A satyr dances, carrying a young companion on his back as wine spills from his cup – the emblem of Dionysian excess. Twisting forms, finely chased surfaces, and a warm, reddish-gold patina create a striking sense of movement.

Rooted in antiquity yet shaped by Renaissance and Florentine traditions, the work draws on classical prototypes while alluding to Michelangelo’s now lost ‘Mask of a Satyr’ (Fig. 2) and the fauns (Fig. 3) for the fountain of Piazza della Signoria.

One of only two known casts commissioned by the Medici and the Martelli family, the present bronze is identified with the one owned by the latter, among the most distinguished patrons of Renaissance Florence. The sculpture stands as a testament to Piamontini’s mastery and to a unique culture of collecting, scholarship, and artistic invention.
~

Giuseppe Piamontini (1644–1742), Faun Carrying a Young Satyr, model conceived in 1698, this example cast c. 1717, bronze, 78 × 32 × 25 cm
Michelangelo Buonarroti (attr.), Mask of a Faun, marble, 1489, formerly Florence, Museo Nazionale del Bargello
Bartolomeo Ammannati, Faun (from the Fountain of Neptune), bronze, 1561-1574, Florence, Piazza della Signoria

In ancient Greek thought, human nature was divided between reason and instinct, embodied by Apollo and Dionysus (Bacchus), figures of order and chaos, clarity and intoxication. This exceptional late Baroque bronze by Giuseppe Piamontini embraces the latter.

A satyr dances, carrying a young companion on his back as wine spills from his cup – the emblem of Dionysian excess. Twisting forms, finely chased surfaces, and a warm, reddish-gold patina create a striking sense of movement.

Rooted in antiquity yet shaped by Renaissance and Florentine traditions, the work draws on classical prototypes while alluding to Michelangelo’s now lost ‘Mask of a Satyr’ (Fig. 2) and the fauns (Fig. 3) for the fountain of Piazza della Signoria.

One of only two known casts commissioned by the Medici and the Martelli family, the present bronze is identified with the one owned by the latter, among the most distinguished patrons of Renaissance Florence. The sculpture stands as a testament to Piamontini’s mastery and to a unique culture of collecting, scholarship, and artistic invention.
~

Giuseppe Piamontini (1644–1742), Faun Carrying a Young Satyr, model conceived in 1698, this example cast c. 1717, bronze, 78 × 32 × 25 cm
Michelangelo Buonarroti (attr.), Mask of a Faun, marble, 1489, formerly Florence, Museo Nazionale del Bargello
Bartolomeo Ammannati, Faun (from the Fountain of Neptune), bronze, 1561-1574, Florence, Piazza della Signoria

“Even in our age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand…” 

So wrote Gustav Glück, the first curator of the Kunsthistorisches Museum, when confronted with the monumental ‘Triumph of Bacchus’ (Fig. 2), long attributed to Charles Wautier. For centuries, the painting’s true author – Michaelina Wautier – went unrecognised, its scale, subject and male nudity deemed incompatible with a woman’s hand. Yet the work is wholly characteristic: uniting her striking colour palette with the richer handling of her religious paintings, Wautier also ‘signs’ the composition by inserting herself as a bacchante (Fig. 1) who meets the viewer’s gaze – an unequivocal assertion of artistic authority.

The current exhibition at the Royal Academy of Arts restores Wautier as a trailblazing seventeenth-century northern artist, comparable in originality and ambition to Artemisia Gentileschi. A highlight from the show is the rediscovered series of the five senses – sight, smell, taste, sound, and touch (Fig. 3-6) – long thought lost and rediscovered at auction in 2019. Presented here for the first time in Europe since their rediscovery, these works transform traditional personifications into vivid studies of childhood, drawn from figures Wautier encountered in Brussels. Their recovery has also illuminated her technique: working rapidly in oil, she laid down successive strokes that blend on the surface, as seen in her distinctive rendering of hair. Besides showcasing her exceptional powers of observation in portraiture, they are exceptionally charming and humorous…
 
In short, don’t turn your nose up on this fantastic exhibition!

Congratulations @jdomercq @royalacademyarts for the excellent show
~
Michaelina Wautier, Triumph of Bacchus, 1655-59, oil on canvas, Kunsthistorisches Museum, Vienna
Michaelina Wautier, The Five Senses (Smell, Taste, Sound, Touch), 1650, oil on canvas, Private Collection

“Even in our age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand…” 

So wrote Gustav Glück, the first curator of the Kunsthistorisches Museum, when confronted with the monumental ‘Triumph of Bacchus’ (Fig. 2), long attributed to Charles Wautier. For centuries, the painting’s true author – Michaelina Wautier – went unrecognised, its scale, subject and male nudity deemed incompatible with a woman’s hand. Yet the work is wholly characteristic: uniting her striking colour palette with the richer handling of her religious paintings, Wautier also ‘signs’ the composition by inserting herself as a bacchante (Fig. 1) who meets the viewer’s gaze – an unequivocal assertion of artistic authority.

The current exhibition at the Royal Academy of Arts restores Wautier as a trailblazing seventeenth-century northern artist, comparable in originality and ambition to Artemisia Gentileschi. A highlight from the show is the rediscovered series of the five senses – sight, smell, taste, sound, and touch (Fig. 3-6) – long thought lost and rediscovered at auction in 2019. Presented here for the first time in Europe since their rediscovery, these works transform traditional personifications into vivid studies of childhood, drawn from figures Wautier encountered in Brussels. Their recovery has also illuminated her technique: working rapidly in oil, she laid down successive strokes that blend on the surface, as seen in her distinctive rendering of hair. Besides showcasing her exceptional powers of observation in portraiture, they are exceptionally charming and humorous…
 
In short, don’t turn your nose up on this fantastic exhibition!

Congratulations @jdomercq @royalacademyarts for the excellent show
~
Michaelina Wautier, Triumph of Bacchus, 1655-59, oil on canvas, Kunsthistorisches Museum, Vienna
Michaelina Wautier, The Five Senses (Smell, Taste, Sound, Touch), 1650, oil on canvas, Private Collection

“Even in our age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand…” 

So wrote Gustav Glück, the first curator of the Kunsthistorisches Museum, when confronted with the monumental ‘Triumph of Bacchus’ (Fig. 2), long attributed to Charles Wautier. For centuries, the painting’s true author – Michaelina Wautier – went unrecognised, its scale, subject and male nudity deemed incompatible with a woman’s hand. Yet the work is wholly characteristic: uniting her striking colour palette with the richer handling of her religious paintings, Wautier also ‘signs’ the composition by inserting herself as a bacchante (Fig. 1) who meets the viewer’s gaze – an unequivocal assertion of artistic authority.

The current exhibition at the Royal Academy of Arts restores Wautier as a trailblazing seventeenth-century northern artist, comparable in originality and ambition to Artemisia Gentileschi. A highlight from the show is the rediscovered series of the five senses – sight, smell, taste, sound, and touch (Fig. 3-6) – long thought lost and rediscovered at auction in 2019. Presented here for the first time in Europe since their rediscovery, these works transform traditional personifications into vivid studies of childhood, drawn from figures Wautier encountered in Brussels. Their recovery has also illuminated her technique: working rapidly in oil, she laid down successive strokes that blend on the surface, as seen in her distinctive rendering of hair. Besides showcasing her exceptional powers of observation in portraiture, they are exceptionally charming and humorous…
 
In short, don’t turn your nose up on this fantastic exhibition!

Congratulations @jdomercq @royalacademyarts for the excellent show
~
Michaelina Wautier, Triumph of Bacchus, 1655-59, oil on canvas, Kunsthistorisches Museum, Vienna
Michaelina Wautier, The Five Senses (Smell, Taste, Sound, Touch), 1650, oil on canvas, Private Collection

“Even in our age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand…” 

So wrote Gustav Glück, the first curator of the Kunsthistorisches Museum, when confronted with the monumental ‘Triumph of Bacchus’ (Fig. 2), long attributed to Charles Wautier. For centuries, the painting’s true author – Michaelina Wautier – went unrecognised, its scale, subject and male nudity deemed incompatible with a woman’s hand. Yet the work is wholly characteristic: uniting her striking colour palette with the richer handling of her religious paintings, Wautier also ‘signs’ the composition by inserting herself as a bacchante (Fig. 1) who meets the viewer’s gaze – an unequivocal assertion of artistic authority.

The current exhibition at the Royal Academy of Arts restores Wautier as a trailblazing seventeenth-century northern artist, comparable in originality and ambition to Artemisia Gentileschi. A highlight from the show is the rediscovered series of the five senses – sight, smell, taste, sound, and touch (Fig. 3-6) – long thought lost and rediscovered at auction in 2019. Presented here for the first time in Europe since their rediscovery, these works transform traditional personifications into vivid studies of childhood, drawn from figures Wautier encountered in Brussels. Their recovery has also illuminated her technique: working rapidly in oil, she laid down successive strokes that blend on the surface, as seen in her distinctive rendering of hair. Besides showcasing her exceptional powers of observation in portraiture, they are exceptionally charming and humorous…
 
In short, don’t turn your nose up on this fantastic exhibition!

Congratulations @jdomercq @royalacademyarts for the excellent show
~
Michaelina Wautier, Triumph of Bacchus, 1655-59, oil on canvas, Kunsthistorisches Museum, Vienna
Michaelina Wautier, The Five Senses (Smell, Taste, Sound, Touch), 1650, oil on canvas, Private Collection

“Even in our age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand…” 

So wrote Gustav Glück, the first curator of the Kunsthistorisches Museum, when confronted with the monumental ‘Triumph of Bacchus’ (Fig. 2), long attributed to Charles Wautier. For centuries, the painting’s true author – Michaelina Wautier – went unrecognised, its scale, subject and male nudity deemed incompatible with a woman’s hand. Yet the work is wholly characteristic: uniting her striking colour palette with the richer handling of her religious paintings, Wautier also ‘signs’ the composition by inserting herself as a bacchante (Fig. 1) who meets the viewer’s gaze – an unequivocal assertion of artistic authority.

The current exhibition at the Royal Academy of Arts restores Wautier as a trailblazing seventeenth-century northern artist, comparable in originality and ambition to Artemisia Gentileschi. A highlight from the show is the rediscovered series of the five senses – sight, smell, taste, sound, and touch (Fig. 3-6) – long thought lost and rediscovered at auction in 2019. Presented here for the first time in Europe since their rediscovery, these works transform traditional personifications into vivid studies of childhood, drawn from figures Wautier encountered in Brussels. Their recovery has also illuminated her technique: working rapidly in oil, she laid down successive strokes that blend on the surface, as seen in her distinctive rendering of hair. Besides showcasing her exceptional powers of observation in portraiture, they are exceptionally charming and humorous…
 
In short, don’t turn your nose up on this fantastic exhibition!

Congratulations @jdomercq @royalacademyarts for the excellent show
~
Michaelina Wautier, Triumph of Bacchus, 1655-59, oil on canvas, Kunsthistorisches Museum, Vienna
Michaelina Wautier, The Five Senses (Smell, Taste, Sound, Touch), 1650, oil on canvas, Private Collection

“Even in our age of female emancipation, one would hardly wish to ascribe this picture, which shows a highly vigorous, almost coarse conception, to a woman’s hand…” 

So wrote Gustav Glück, the first curator of the Kunsthistorisches Museum, when confronted with the monumental ‘Triumph of Bacchus’ (Fig. 2), long attributed to Charles Wautier. For centuries, the painting’s true author – Michaelina Wautier – went unrecognised, its scale, subject and male nudity deemed incompatible with a woman’s hand. Yet the work is wholly characteristic: uniting her striking colour palette with the richer handling of her religious paintings, Wautier also ‘signs’ the composition by inserting herself as a bacchante (Fig. 1) who meets the viewer’s gaze – an unequivocal assertion of artistic authority.

The current exhibition at the Royal Academy of Arts restores Wautier as a trailblazing seventeenth-century northern artist, comparable in originality and ambition to Artemisia Gentileschi. A highlight from the show is the rediscovered series of the five senses – sight, smell, taste, sound, and touch (Fig. 3-6) – long thought lost and rediscovered at auction in 2019. Presented here for the first time in Europe since their rediscovery, these works transform traditional personifications into vivid studies of childhood, drawn from figures Wautier encountered in Brussels. Their recovery has also illuminated her technique: working rapidly in oil, she laid down successive strokes that blend on the surface, as seen in her distinctive rendering of hair. Besides showcasing her exceptional powers of observation in portraiture, they are exceptionally charming and humorous…
 
In short, don’t turn your nose up on this fantastic exhibition!

Congratulations @jdomercq @royalacademyarts for the excellent show
~
Michaelina Wautier, Triumph of Bacchus, 1655-59, oil on canvas, Kunsthistorisches Museum, Vienna
Michaelina Wautier, The Five Senses (Smell, Taste, Sound, Touch), 1650, oil on canvas, Private Collection

A master of late Baroque drama, in this exceptional bronze group Giovanni Battista Foggini captures the rush of the North Wind as Boreas seizes Oreithyia, suspending the scene at the very instant of flight. The god’s body is balanced on a single leg, and the composition is daringly open, while swirling drapery renders a sense of flight, speed and instability.

Trained in Rome under Ercole Ferrata and Ciro Ferri, Foggini brought back to Florence a sculptural language of muscular tension and technical flair. In bronze, his preferred medium, he achieved a refined interplay between crisply chased detail and sensuous, polished flesh.

Conceived as a pendant to Pluto and Proserpina (Fig. 3), Foggini exploits the theme of mythological abduction to display dynamism and emotional intensity, allowing him to deploy his full virtuosity and bravura as a bronze caster. Boreas’s suspended foot attests to his exceptional confidence and great technical skill.

This remarkable autograph model was recently exhibited in the monographic exhibition ‘Giovan Battista Foggini: Architetto e scultore ducale’ at the Palazzo Medici Riccardi in Florence.

~
Giovan Battista Foggini (1652-1725), Boreas and Oreithyia, first quarter of the 18th century, bronze, 50 x 23 x 27 cm
Boreas and Oreythia, cast before 1703, bronze (right) 
Pluto and Proserpina, cast before 1703, bronze (left), both in Gallerie Nazionali di Arte Antica Barberini–Corsini, Rome.

A master of late Baroque drama, in this exceptional bronze group Giovanni Battista Foggini captures the rush of the North Wind as Boreas seizes Oreithyia, suspending the scene at the very instant of flight. The god’s body is balanced on a single leg, and the composition is daringly open, while swirling drapery renders a sense of flight, speed and instability.

Trained in Rome under Ercole Ferrata and Ciro Ferri, Foggini brought back to Florence a sculptural language of muscular tension and technical flair. In bronze, his preferred medium, he achieved a refined interplay between crisply chased detail and sensuous, polished flesh.

Conceived as a pendant to Pluto and Proserpina (Fig. 3), Foggini exploits the theme of mythological abduction to display dynamism and emotional intensity, allowing him to deploy his full virtuosity and bravura as a bronze caster. Boreas’s suspended foot attests to his exceptional confidence and great technical skill.

This remarkable autograph model was recently exhibited in the monographic exhibition ‘Giovan Battista Foggini: Architetto e scultore ducale’ at the Palazzo Medici Riccardi in Florence.

~
Giovan Battista Foggini (1652-1725), Boreas and Oreithyia, first quarter of the 18th century, bronze, 50 x 23 x 27 cm
Boreas and Oreythia, cast before 1703, bronze (right) 
Pluto and Proserpina, cast before 1703, bronze (left), both in Gallerie Nazionali di Arte Antica Barberini–Corsini, Rome.

A master of late Baroque drama, in this exceptional bronze group Giovanni Battista Foggini captures the rush of the North Wind as Boreas seizes Oreithyia, suspending the scene at the very instant of flight. The god’s body is balanced on a single leg, and the composition is daringly open, while swirling drapery renders a sense of flight, speed and instability.

Trained in Rome under Ercole Ferrata and Ciro Ferri, Foggini brought back to Florence a sculptural language of muscular tension and technical flair. In bronze, his preferred medium, he achieved a refined interplay between crisply chased detail and sensuous, polished flesh.

Conceived as a pendant to Pluto and Proserpina (Fig. 3), Foggini exploits the theme of mythological abduction to display dynamism and emotional intensity, allowing him to deploy his full virtuosity and bravura as a bronze caster. Boreas’s suspended foot attests to his exceptional confidence and great technical skill.

This remarkable autograph model was recently exhibited in the monographic exhibition ‘Giovan Battista Foggini: Architetto e scultore ducale’ at the Palazzo Medici Riccardi in Florence.

~
Giovan Battista Foggini (1652-1725), Boreas and Oreithyia, first quarter of the 18th century, bronze, 50 x 23 x 27 cm
Boreas and Oreythia, cast before 1703, bronze (right) 
Pluto and Proserpina, cast before 1703, bronze (left), both in Gallerie Nazionali di Arte Antica Barberini–Corsini, Rome.

Spring has arrived! And our gallery in Bond Street is looking more beautiful than ever…

We are extremely excited for the season ahead, with a programme of gallery events and an upcoming auction season to look forward to, as well as friends and colleagues to reconnect with following a memorable TEFAF!

Come experience the quiet of the gallery before the busy season kicks in...

📍Stuart Lochhead Sculpture, 22 Old Bond Street, London
~
Giuseppe Zocchi, View from Piazza della Signoria, with the Palazzo Vecchio and the Loggia dei Lanzi, c. 1741, oil on canvas, 57.8 x 87.3
Nino Pisano, St. John the Baptist, c. 1362-63 marble, height 75.5 cm

Any Easter plans? If you find yourself in Paris over the break, Visages d’Artistes at the Petit Palais is well worth a visit. The exhibition explores the artist’s portrait in the nineteenth century through key works from the museum’s collection, featuring some of the most interesting figures active in fin-de-siècle Paris. It also includes contemporary responses by women artists based in France, who reinterpret the genre as a site of self-exploration and identity.

Among the highlights is a haunting late self-portrait by Jean-Baptiste Carpeaux, executed in 1874 at the end of his life. Emerging from darkness, his hollow, jaundiced face and glassy eyes bear the marks of illness, yet the image remains imbued with a profound sense of dignity in the face of death.

Fernand Cormon’s 1877 portrait of the sculptor Albert-Ernest Carrier-Belleuse presents the artist at the height of his career, shortly after his appointment at the Manufacture de Sèvres. Exhibited at the Salon of 1877, the work testifies to the close artistic exchanges and friendships of the period; at the same Salon, the sculptor presented a celebrated terracotta bust of Cormon.

A central figure is Jean Carriès, represented through Louise Breslau’s evocative studio portrait, which captures him as both craftsman and “image maker” beside some of his most famous works. This is complemented by sculptural works, including a striking terracotta bust of Eugène Allard, whose veiled head — derived from a death mask provided after his murder — conveys dramatic intensity and funereal lyricism. A group of masks further underscores Carriès’s fascination with the expressive potential of the human face, realised through his mastery of glazed earthenware.

The exhibition ultimately reconsiders portraiture as a space of artistic exchange, lineage, and critique, with the studio at its core. Not to miss!

~

Jean-Baptiste Carpeaux, Self-Portrait, oil on canvas, 1874
Fernand Cormon, Portrait de Carrier-Belleuse, oil on canvas, 1877
Louise Breslau, Sculptor Jean Carriès in his Studio, oil on canvas, 1886–1887
Jean Carriès, Eugène Allard with a Veil, terracotta, 1876–1877
Jean Carriès, Masks, glazed earthenware, 1887–1997

Any Easter plans? If you find yourself in Paris over the break, Visages d’Artistes at the Petit Palais is well worth a visit. The exhibition explores the artist’s portrait in the nineteenth century through key works from the museum’s collection, featuring some of the most interesting figures active in fin-de-siècle Paris. It also includes contemporary responses by women artists based in France, who reinterpret the genre as a site of self-exploration and identity.

Among the highlights is a haunting late self-portrait by Jean-Baptiste Carpeaux, executed in 1874 at the end of his life. Emerging from darkness, his hollow, jaundiced face and glassy eyes bear the marks of illness, yet the image remains imbued with a profound sense of dignity in the face of death.

Fernand Cormon’s 1877 portrait of the sculptor Albert-Ernest Carrier-Belleuse presents the artist at the height of his career, shortly after his appointment at the Manufacture de Sèvres. Exhibited at the Salon of 1877, the work testifies to the close artistic exchanges and friendships of the period; at the same Salon, the sculptor presented a celebrated terracotta bust of Cormon.

A central figure is Jean Carriès, represented through Louise Breslau’s evocative studio portrait, which captures him as both craftsman and “image maker” beside some of his most famous works. This is complemented by sculptural works, including a striking terracotta bust of Eugène Allard, whose veiled head — derived from a death mask provided after his murder — conveys dramatic intensity and funereal lyricism. A group of masks further underscores Carriès’s fascination with the expressive potential of the human face, realised through his mastery of glazed earthenware.

The exhibition ultimately reconsiders portraiture as a space of artistic exchange, lineage, and critique, with the studio at its core. Not to miss!

~

Jean-Baptiste Carpeaux, Self-Portrait, oil on canvas, 1874
Fernand Cormon, Portrait de Carrier-Belleuse, oil on canvas, 1877
Louise Breslau, Sculptor Jean Carriès in his Studio, oil on canvas, 1886–1887
Jean Carriès, Eugène Allard with a Veil, terracotta, 1876–1877
Jean Carriès, Masks, glazed earthenware, 1887–1997

Any Easter plans? If you find yourself in Paris over the break, Visages d’Artistes at the Petit Palais is well worth a visit. The exhibition explores the artist’s portrait in the nineteenth century through key works from the museum’s collection, featuring some of the most interesting figures active in fin-de-siècle Paris. It also includes contemporary responses by women artists based in France, who reinterpret the genre as a site of self-exploration and identity.

Among the highlights is a haunting late self-portrait by Jean-Baptiste Carpeaux, executed in 1874 at the end of his life. Emerging from darkness, his hollow, jaundiced face and glassy eyes bear the marks of illness, yet the image remains imbued with a profound sense of dignity in the face of death.

Fernand Cormon’s 1877 portrait of the sculptor Albert-Ernest Carrier-Belleuse presents the artist at the height of his career, shortly after his appointment at the Manufacture de Sèvres. Exhibited at the Salon of 1877, the work testifies to the close artistic exchanges and friendships of the period; at the same Salon, the sculptor presented a celebrated terracotta bust of Cormon.

A central figure is Jean Carriès, represented through Louise Breslau’s evocative studio portrait, which captures him as both craftsman and “image maker” beside some of his most famous works. This is complemented by sculptural works, including a striking terracotta bust of Eugène Allard, whose veiled head — derived from a death mask provided after his murder — conveys dramatic intensity and funereal lyricism. A group of masks further underscores Carriès’s fascination with the expressive potential of the human face, realised through his mastery of glazed earthenware.

The exhibition ultimately reconsiders portraiture as a space of artistic exchange, lineage, and critique, with the studio at its core. Not to miss!

~

Jean-Baptiste Carpeaux, Self-Portrait, oil on canvas, 1874
Fernand Cormon, Portrait de Carrier-Belleuse, oil on canvas, 1877
Louise Breslau, Sculptor Jean Carriès in his Studio, oil on canvas, 1886–1887
Jean Carriès, Eugène Allard with a Veil, terracotta, 1876–1877
Jean Carriès, Masks, glazed earthenware, 1887–1997

Any Easter plans? If you find yourself in Paris over the break, Visages d’Artistes at the Petit Palais is well worth a visit. The exhibition explores the artist’s portrait in the nineteenth century through key works from the museum’s collection, featuring some of the most interesting figures active in fin-de-siècle Paris. It also includes contemporary responses by women artists based in France, who reinterpret the genre as a site of self-exploration and identity.

Among the highlights is a haunting late self-portrait by Jean-Baptiste Carpeaux, executed in 1874 at the end of his life. Emerging from darkness, his hollow, jaundiced face and glassy eyes bear the marks of illness, yet the image remains imbued with a profound sense of dignity in the face of death.

Fernand Cormon’s 1877 portrait of the sculptor Albert-Ernest Carrier-Belleuse presents the artist at the height of his career, shortly after his appointment at the Manufacture de Sèvres. Exhibited at the Salon of 1877, the work testifies to the close artistic exchanges and friendships of the period; at the same Salon, the sculptor presented a celebrated terracotta bust of Cormon.

A central figure is Jean Carriès, represented through Louise Breslau’s evocative studio portrait, which captures him as both craftsman and “image maker” beside some of his most famous works. This is complemented by sculptural works, including a striking terracotta bust of Eugène Allard, whose veiled head — derived from a death mask provided after his murder — conveys dramatic intensity and funereal lyricism. A group of masks further underscores Carriès’s fascination with the expressive potential of the human face, realised through his mastery of glazed earthenware.

The exhibition ultimately reconsiders portraiture as a space of artistic exchange, lineage, and critique, with the studio at its core. Not to miss!

~

Jean-Baptiste Carpeaux, Self-Portrait, oil on canvas, 1874
Fernand Cormon, Portrait de Carrier-Belleuse, oil on canvas, 1877
Louise Breslau, Sculptor Jean Carriès in his Studio, oil on canvas, 1886–1887
Jean Carriès, Eugène Allard with a Veil, terracotta, 1876–1877
Jean Carriès, Masks, glazed earthenware, 1887–1997

Any Easter plans? If you find yourself in Paris over the break, Visages d’Artistes at the Petit Palais is well worth a visit. The exhibition explores the artist’s portrait in the nineteenth century through key works from the museum’s collection, featuring some of the most interesting figures active in fin-de-siècle Paris. It also includes contemporary responses by women artists based in France, who reinterpret the genre as a site of self-exploration and identity.

Among the highlights is a haunting late self-portrait by Jean-Baptiste Carpeaux, executed in 1874 at the end of his life. Emerging from darkness, his hollow, jaundiced face and glassy eyes bear the marks of illness, yet the image remains imbued with a profound sense of dignity in the face of death.

Fernand Cormon’s 1877 portrait of the sculptor Albert-Ernest Carrier-Belleuse presents the artist at the height of his career, shortly after his appointment at the Manufacture de Sèvres. Exhibited at the Salon of 1877, the work testifies to the close artistic exchanges and friendships of the period; at the same Salon, the sculptor presented a celebrated terracotta bust of Cormon.

A central figure is Jean Carriès, represented through Louise Breslau’s evocative studio portrait, which captures him as both craftsman and “image maker” beside some of his most famous works. This is complemented by sculptural works, including a striking terracotta bust of Eugène Allard, whose veiled head — derived from a death mask provided after his murder — conveys dramatic intensity and funereal lyricism. A group of masks further underscores Carriès’s fascination with the expressive potential of the human face, realised through his mastery of glazed earthenware.

The exhibition ultimately reconsiders portraiture as a space of artistic exchange, lineage, and critique, with the studio at its core. Not to miss!

~

Jean-Baptiste Carpeaux, Self-Portrait, oil on canvas, 1874
Fernand Cormon, Portrait de Carrier-Belleuse, oil on canvas, 1877
Louise Breslau, Sculptor Jean Carriès in his Studio, oil on canvas, 1886–1887
Jean Carriès, Eugène Allard with a Veil, terracotta, 1876–1877
Jean Carriès, Masks, glazed earthenware, 1887–1997

What a fantastic edition of TEFAF it has been! With the fair closing last week, we thought it would be good to share a brief story about a remarkable sale from TEFAF Maastricht 2025.

The figure above is an exceptional gilt bronze of St. Sebastian by Pietro Tacca, the great successor of Giambologna who inherited his workshop and became court sculptor to the Medici in Baroque Florence. When we exhibited it at Maastricht last year, it was immediately acquired by a private collector from the US who promised it on the spot as a gift for the Museum of Fine Arts in San Francisco, where it is now beautifully displayed.

This is the magic of TEFAF Maastricht – the only place where museums and collectors come together to make an acquisition like this possible, collaborating to create something of lasting value for visitors and art lovers around the world.

See you next year, TEFAF Maastricht!

~

Pietro Tacca, St. Sebastian, modelled and cast c. 1610-1615, gilt and patinated bronze, Museum of Fine Arts, San Francisco

What a fantastic edition of TEFAF it has been! With the fair closing last week, we thought it would be good to share a brief story about a remarkable sale from TEFAF Maastricht 2025.

The figure above is an exceptional gilt bronze of St. Sebastian by Pietro Tacca, the great successor of Giambologna who inherited his workshop and became court sculptor to the Medici in Baroque Florence. When we exhibited it at Maastricht last year, it was immediately acquired by a private collector from the US who promised it on the spot as a gift for the Museum of Fine Arts in San Francisco, where it is now beautifully displayed.

This is the magic of TEFAF Maastricht – the only place where museums and collectors come together to make an acquisition like this possible, collaborating to create something of lasting value for visitors and art lovers around the world.

See you next year, TEFAF Maastricht!

~

Pietro Tacca, St. Sebastian, modelled and cast c. 1610-1615, gilt and patinated bronze, Museum of Fine Arts, San Francisco

What a fantastic edition of TEFAF it has been! With the fair closing last week, we thought it would be good to share a brief story about a remarkable sale from TEFAF Maastricht 2025.

The figure above is an exceptional gilt bronze of St. Sebastian by Pietro Tacca, the great successor of Giambologna who inherited his workshop and became court sculptor to the Medici in Baroque Florence. When we exhibited it at Maastricht last year, it was immediately acquired by a private collector from the US who promised it on the spot as a gift for the Museum of Fine Arts in San Francisco, where it is now beautifully displayed.

This is the magic of TEFAF Maastricht – the only place where museums and collectors come together to make an acquisition like this possible, collaborating to create something of lasting value for visitors and art lovers around the world.

See you next year, TEFAF Maastricht!

~

Pietro Tacca, St. Sebastian, modelled and cast c. 1610-1615, gilt and patinated bronze, Museum of Fine Arts, San Francisco

Where Victorian sculpture meets timeless virtue.
 
A leading figure of the New Sculpture movement, Drury brought poetry and emotion to British sculpture, from monumental public works to intimate bronzes.
 
This rare bronze bust of Griselda, inspired by Boccaccio’s Decameron, captures the story’s themes of patience, endurance, and quiet resilience. One of only two larger versions, it remained in the artist’s family until 2025 and shows Drury’s mastery of lost-wax casting and delicate modelling. The other version was bought directly from the artist in 1897 after being exhibited at the Royal Academy, and is now in Tate.
 
⏳TEFAF Maastricht closes tomorrow!
 
📍 Come and see this work at Stuart Lochhead Sculpture, Stand 108 👀
 
~

Alfred Drury, Griselda, c. 1896, bronze, 50 x 50 x 22 cm

Where Victorian sculpture meets timeless virtue.
 
A leading figure of the New Sculpture movement, Drury brought poetry and emotion to British sculpture, from monumental public works to intimate bronzes.
 
This rare bronze bust of Griselda, inspired by Boccaccio’s Decameron, captures the story’s themes of patience, endurance, and quiet resilience. One of only two larger versions, it remained in the artist’s family until 2025 and shows Drury’s mastery of lost-wax casting and delicate modelling. The other version was bought directly from the artist in 1897 after being exhibited at the Royal Academy, and is now in Tate.
 
⏳TEFAF Maastricht closes tomorrow!
 
📍 Come and see this work at Stuart Lochhead Sculpture, Stand 108 👀
 
~

Alfred Drury, Griselda, c. 1896, bronze, 50 x 50 x 22 cm

Where Victorian sculpture meets timeless virtue.
 
A leading figure of the New Sculpture movement, Drury brought poetry and emotion to British sculpture, from monumental public works to intimate bronzes.
 
This rare bronze bust of Griselda, inspired by Boccaccio’s Decameron, captures the story’s themes of patience, endurance, and quiet resilience. One of only two larger versions, it remained in the artist’s family until 2025 and shows Drury’s mastery of lost-wax casting and delicate modelling. The other version was bought directly from the artist in 1897 after being exhibited at the Royal Academy, and is now in Tate.
 
⏳TEFAF Maastricht closes tomorrow!
 
📍 Come and see this work at Stuart Lochhead Sculpture, Stand 108 👀
 
~

Alfred Drury, Griselda, c. 1896, bronze, 50 x 50 x 22 cm

This extraordinary work is a newly rediscovered terracotta by the great Venetian artist, Andrea Brustolon.
 
Brustolon has been hailed as the ‘Michelangelo in wood’, and this terracotta bozzetto is a rare survival in clay and a notable addition to his oeuvre.
 
The taut articulation of the Christ’s torso, together with the refined modelling of muscle and sinew in His outstretched arms, reveal Brustolon’s sensitivity to the expressive potential of human anatomy.
 
Born in Belluno in 1662, the artist moved from decorative woodcarving to fully-fledged sculptural works, blending Baroque drama directly inspired by Giusto Le Court and Parodi.
 
The terracotta likely served as a working model for a larger wooden Crucifix, and thus represents a fascinating insight into his creative process.
 
Swipe to see every detail of the lean, animated figure, the flowing perizoma, and the radiating clouds signalling Christ’s triumph over death.
 
📍To see this newly discovered work by the artist, come to Stuart Lochhead Sculpture, @tefaf Maastricht, Stand 108! 👀

~

Andrea Brustolon, Bozzetto for a Crucifixion, c. 1715, terracotta, 24 x 21 x 5 cm

This extraordinary work is a newly rediscovered terracotta by the great Venetian artist, Andrea Brustolon.
 
Brustolon has been hailed as the ‘Michelangelo in wood’, and this terracotta bozzetto is a rare survival in clay and a notable addition to his oeuvre.
 
The taut articulation of the Christ’s torso, together with the refined modelling of muscle and sinew in His outstretched arms, reveal Brustolon’s sensitivity to the expressive potential of human anatomy.
 
Born in Belluno in 1662, the artist moved from decorative woodcarving to fully-fledged sculptural works, blending Baroque drama directly inspired by Giusto Le Court and Parodi.
 
The terracotta likely served as a working model for a larger wooden Crucifix, and thus represents a fascinating insight into his creative process.
 
Swipe to see every detail of the lean, animated figure, the flowing perizoma, and the radiating clouds signalling Christ’s triumph over death.
 
📍To see this newly discovered work by the artist, come to Stuart Lochhead Sculpture, @tefaf Maastricht, Stand 108! 👀

~

Andrea Brustolon, Bozzetto for a Crucifixion, c. 1715, terracotta, 24 x 21 x 5 cm

This extraordinary work is a newly rediscovered terracotta by the great Venetian artist, Andrea Brustolon.
 
Brustolon has been hailed as the ‘Michelangelo in wood’, and this terracotta bozzetto is a rare survival in clay and a notable addition to his oeuvre.
 
The taut articulation of the Christ’s torso, together with the refined modelling of muscle and sinew in His outstretched arms, reveal Brustolon’s sensitivity to the expressive potential of human anatomy.
 
Born in Belluno in 1662, the artist moved from decorative woodcarving to fully-fledged sculptural works, blending Baroque drama directly inspired by Giusto Le Court and Parodi.
 
The terracotta likely served as a working model for a larger wooden Crucifix, and thus represents a fascinating insight into his creative process.
 
Swipe to see every detail of the lean, animated figure, the flowing perizoma, and the radiating clouds signalling Christ’s triumph over death.
 
📍To see this newly discovered work by the artist, come to Stuart Lochhead Sculpture, @tefaf Maastricht, Stand 108! 👀

~

Andrea Brustolon, Bozzetto for a Crucifixion, c. 1715, terracotta, 24 x 21 x 5 cm

The Lily grows on tatami @tefaf
This work crafted in silver, gold powder and copper by artist @_shota_suzuki_ is inspired by plants that grow near his atelier in Kyoto.

You can visit us at the fair on stand 108 Stuart Lochhead Sculpture

#japanese #lily #easterlily #tatami #kyotoartist

The Lily grows on tatami @tefaf
This work crafted in silver, gold powder and copper by artist @_shota_suzuki_ is inspired by plants that grow near his atelier in Kyoto.

You can visit us at the fair on stand 108 Stuart Lochhead Sculpture

#japanese #lily #easterlily #tatami #kyotoartist

The Lily grows on tatami @tefaf
This work crafted in silver, gold powder and copper by artist @_shota_suzuki_ is inspired by plants that grow near his atelier in Kyoto.

You can visit us at the fair on stand 108 Stuart Lochhead Sculpture

#japanese #lily #easterlily #tatami #kyotoartist

A granite vase from Nero’s palace…
 
This outstanding vase is a testament to the technical achievement of the ancient world and its enduring allure in European and global art. Carved from a single block of Aswan granite by artisans in Alexandria, it was created for Emperor Nero’s Domus Transitoria on the Palatine Hill. Its extraordinary scale reflects Nero’s taste for Egyptian stone as an exotic emblem of luxury and a symbol of Rome’s imperial power.
 
Unearthed in 1721, it was acquired by William Ponsonby, 2nd Earl of Bessborough, for his celebrated collection at Parkstead House. Today, it is offered on the market for only the third time in almost two millennia.
 
To see more than just a glimpse of this extraordinary object, visit📍Stand 108, Stuart Lochhead Sculpture, @tefaf Maastricht. 👀
 
~

Nero’s Vase, First Century AD, Aswan granite, probably carved in Alexandria, 68.5 x 52 x 46 cm