A ROMAN GRAND TOUR TYPE CARVED YELLOW MOTTLED GREY MARBLE MODEL OF A PANTHER
Probably second half 19th century, the marble possibly Giallo Tigrato
Carved in the manner of Antonio Moglia or Francesco Antonio Franzoni, on a red marble rectangular base.
height of panther 9 1/2in (24cm); length 27in (68.5cm)
Footnotes:
Beginning in the late 16th and through the 19th century, Grand Tours became the fashionable activity for young aristocrats to visit Paris, Venice, Florence, and especially Rome. Northerners' renewed interest in Neoclassicism and an interest in 'exotic' customs caused herds of the elite to flock to these cities not for only a cultural education, but also with a desire to bring back souvenirs. Grand Tourists would return from their travels with crates full of art and artifacts from their voyages abroad.

One site which would have been impressive to the traveling youths was the Sala degli Animali, the Vatican's zoo of stone animals. Established by Pope Clement XIV, the collection was comprised of antique animals carved in marble and polychrome hard stones. The room was subsequently expanded by Pope Pius VI to include new works in the antique taste.

One artist that had a particular interest in sculpting animalia was Antonio Moglia (Italian, b. 1765). Aside from his work with the Vatican, Moglia also restored ancient marbles belonging to Ludwig I of Bavaria. Francesco Antonio Franzoni (Italian, 1734-1818), was another one of the main restorers of the antiques in the Sala degli animali. From Carrara, Franzoni also had a special gift for sculpting marble and was favored among Pope for restoration. Both artists were tremendously gifted at giving breath to stone.

Giallo tigrato is an extremely rare marble found in quarries since classical antiquity and was originally believed to have come from Corinth, although this was later debunked. The composition of the marble -- yellow with black spots -- mimics the spotted pelt of a feline. This pattern allows the creation of realistic large cats without having to incorporate inlay, thus leaving the marble incomparably smooth. Its scarcity has made it an alluring and unusual material in the art world. Because the quarries where this marble was found is unknown, all 19th century and later creations were recycled from existing works.

The detailed anatomy and grace of the panther's pose reflect those qualities mastered by the sculptor. Naturalism adds to the ferocity of the beast, bringing the panther to life. The marble depicts a panther on the lookout, the body crouched on the ground, one paw stretched forward, and with a threatening open mouth. The lowered ears, furrowed brow, and snarled mouth all add to the dynamism of the piece. The present lot was likely a small-scale tourist piece created to bring back from Italy for display in one's home.

Provenance
Établissement d'Experts d'Art Associés, Geneva, 18 April 1983 / Didier Aaron & Cie., Paris.

Literature
González-Palacios. Il serraglio di pietra. La sala degli animali in Vaticano, Rome, 2013.
Liverani & Spinola. Vaticano, La Sala degli Animali nel Museo Pio-Clementino, Milan, 2003, p. 31, 117-118.
Borghini, G. Marmi antichi, Rome, 1997, p. 216.

There are no teeth, but there are holes where the teeth would have been. On the panther's left paw, two of the claws are chipped off. The back legs have both been broken and repaired with overpaint and a visible crack around his back right knee. There is a repair on the tail beginning from the top of the right back where the haunch meets the tail down through the tail where it attached to the leg, with some overpainting. Scattered small chips and losses with some filled holes throughout. A repair with overpaint under the panther's left front leg. Natural fissures to the marble. Other small cracks throughout. Natural wear consistent with age.

Please note the base is not marbleized wood, but marble.