Lot n° 19
40000 - 60000
ATTRIBUÉE À GIOVAN DOMENICO D'AURIA († 1573) MILIEU DU XVIE SIÈCLE
Great Virgin of the Immaculate Conception in marble sculpted in the round. Leaning and standing on clouds from which emerge the heads of cherubs, her right foot on the crescent, she raises her gaze to the sky, her hands joined in adoration; oval face with full forms with large almond-shaped eyes and a mouth with loose lips; wavy hair with long locks resting on her shoulders and falling down her back; four putti cling to her clothes in various animated positions.
Naples, attributed to Giovan Domenico d'Auria († 1573), mid-16th century
Height: 118 cm - Width: 56 cm
Depth: 30 cm
Small accidents and restorations
The Neapolitan Giovan Domenico d'Auria was a pupil of Giovanni da Nola, a very famous sculptor and architect in Naples during the first half of the 16th century. He is known to have created many tombs and burials, often in close collaboration with Annibale Caccavello (1515-1570), who was also trained in Nola's workshop. Thus we find them working together in the church of San Giacomo degli Spagnoli at the tomb of Viceroy Pedro Alvarez de Toledo y Zuñiga, in the church of San Domenico Maggiore at the tomb of Porzia Capece (1559) and also in the church of Severino and Sossio at the tombs of the three Sanseverino brothers. Although sculpting side by side, Caccavello and d'Auria each have their own style. On this beautiful Madonna of the Immaculate, one can recognize the manner of the latter with the locks of hair on the foreheads of the putti or the gently undulating locks of the Virgin Mary on her shoulders, unlike the swelling hair of Annibale, sometimes hollowed out with a drill bit in the manner of ancient sculpture; the almond-shaped eyes bordered by thick eyelids are not in the habit of her fellow student, who usually digs out the pupils.
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