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soldApr. 18, 2023DELVAUX Laurent (1696 - 1778) Sculptures Important bas-relief, médaillon en
Est: €700 - €900DELVAUX Laurent (1696 - 1778) Sculptures Important bas-relief, médaillon en plâtre patiné représentant le "Portrait de Charles de Lorraine, gouverneur général des Pays-Bas Autrichiens". Signé sous le bras L. Delvaux. Conn comme maître-sculpteur de la Cour » sous Charles de Lorraine. Œuvre à mettre en lien avec le médaillon en marbre conservé aux Musées Royaux des beaux-Arts de Belgique. Ecole wallonne. Epoque: XVIIIème. Dans un encadrement d'époque en bois sculpté et doré. (**). Dim.(hors encadrement):+/-42,2x38,5cm.
Vanderkindere
soldDec. 19, 2021Laurent DELVAUX (1696-1778) Att Child Jesus in Carrara marble 18th baroque crib element Belgian private collection
Est: €2,000 - €4,000Laurent DELVAUX (1696-1778) Att Child Jesus in Carrara marble 18th baroque crib element Belgian private collection - Sizes: L 630mm H 260mm - Weight (K): 12,7kg - Condition: After checking - wear - missing a finger - Author / artist: Laurent DELVAUX (1696-1778) Att
Goldfield Auction
soldOct. 21, 2021Laurent Delvaux (1696-1778), terracotta sculpture of a saint, H 28,5 cm
Est: €2,000 - €3,000Laurent Delvaux (1696-1778), terracotta sculpture of a saint, H 28,5 cm A very important Baroque terracotta sculpture of a saint standing in a humble contrapposto, attributed to Laurent Delvaux, 18thC, with the inscription 'AN' on the base, H 28,5 cm This elegant terracotta figure is of extremely fine quality. Provenance: former collection René van Bastelaer, Brussels.
Carlo Bonte Auctions
soldMar. 07, 2021LAURENT DELVAUX (ATTR) TERRACOTTA ANGEL
Est: €1,000 - €1,500Laurent Delvaux (attr) ange en terre cuite Dimensions: H=300mm L=200mm Poids (Kg): 1.450kg Etat: Après vérification - (accidents et manque) - pas de restauration - pas de réparation Auteur/artiste: Laurent DELVAUX (attr.)
Goldfield Auction
soldMar. 23, 2017Laurent Delvaux Gand, 1696 - Nivelles, 1778 Projet pour une console d''applique Esquisse en terre cuite originale
Est: €1,000 - €1,500Laurent Delvaux Gand, 1696 - Nivelles, 1778 Projet pour une console d''applique Esquisse en terre cuite originale (Petites restaurations) Study for a console, original terracotta sketch, by L. Delvaux h: 23 w: 20 d: 14 cm Bibliographie : rapport : Alain Jacobs, ''Laurent Delvaux, Gand 1696 - Nivelles, 1778'', Paris, 1999, p.339, n° S121e et S121 (consoles en chêne, Nivelles, collégiale Sainte-Gertrude) Commentaire : Notre esquisse est une étude préparatoire pour les consoles supportant les statues de saint Jean et saint Jacques conservées dans l''église collégiale Sainte-Gertrude à Nivelles dans le Brabant-Wallon (fig. 1). Il s''agit de deux des sept consoles en chêne présentant sept statues de saints sculptés par Delvaux et Anrion entre 1743 et 1753. Les diverses et légères variantes entre l''esquisse en terre cuite et la réalisation finale en chêne et témoignent du travail de recherche de l''artiste.
Artcurial
soldMar. 23, 2017Attribué à Laurent Delvaux Gand, 1696 - Nivelles, 1778 Profil de la Vierge Bas-relief en terre cuite de forme ovale
Est: €2,500 - €3,000Attribué à Laurent Delvaux Gand, 1696 - Nivelles, 1778 Profil de la Vierge Bas-relief en terre cuite de forme ovale Daté ''1760'' par incision au revers (Petits éclats et restaurations) Head of the Virgin in profile, oval terracotta relief, dated, attr. to L. Delvaux h: 56 w: 41 cm Bibliographie : en rapport : Alain Jacobs, ''Laurent Delvaux, Gand 1696 - Nivelles, 1778'', Paris, 1999, p. 400-402 Paul Philippot, Denis Coekelberghs, Pierre Loze, Dominique Vautier, ''L''architecture religieuse et la sculpture baroque dans les Pays-Bas méridionaux et la principauté de Liège (1600-1770)'', Sprimont, 2003, p. 359 -377 et 506 Commentaire : Cette œuvre attribuée à l''artiste flamand Laurent Delvaux n''est pas sans rappeler ses bustes de ''Mater Dolorosa'' aux drapés schématiques qui connurent un vaste succès dans les années 1760. Au musée d''archéologie, d''art et d''histoire de la ville de Nivelles, un profil de la Vierge aux mêmes caractéristiques est accompagné d''un profil du Christ (inv. SUT11 et SUT12). Ce type de médaillons fut florissant dès la fin du XVIIe siècle dans le mobilier liturgique baroque des Pays-Bas méridionaux, décorant des chaires de vérité, des stalles ou des confessionnaux. (cf. la porte entre lambris de l''église Sainte Catherine à Stabroek décorée par Verbrugghe ou l''enfilade des sept confessionnaux de l''église des Jésuites à Malines orné en 1683-84 par Louis Willemssens et Nicolas van der Veken 1689).
Artcurial
soldDec. 06, 2016LAURENT DELVAUX (1696-1778) SOUTHERN NETHERLANDISH, CIRCA 1776 | Caritas romana (Roman Charity)
Est: £50,000 - £70,000white marble, on a wood base
Sotheby's
soldJun. 21, 2016PORTRAITS IN MEZZOTINT ENGRAVINGS OF THE TRIUMVIRATE OF GREAT 'ENGLISH' SCULPTORS OF FLEMISH ORIGIN FROM VARIOUS SOURCES comprising: Grinling Gibbons (1648-1721), measuring a cast of the head of Berninis Daphne, by J. Smith, after Godfrey Kneller (34cm x 26cm), Trinity Fine Art, London, Dec. 1999, no. 33, Laurent Delvaux (1696-1778), by Alexander Vanhauken, after Isaac Whood, 1735 (36cm x 26cm), framed and glazed (53cmx 43cm), Michael Rysbrack (1694-1770), J. Faber after J. Vanderbank, 1734 (37cm x 27cm), framed and glazed (51cm x 42cm), (3) PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include Florentine Renaissance Sculpture, 1970, Giambologna the Complete Sculpture, Phaidon, 1987, Donatello: An Introduction, John Murray, 1994; Bernini, Genius of the Baroque, Thames and Hudson, 1997 (paperback, 2006), and The Triumph of Motion: Francesco Bertos, 2008.
Est: £600 - £800PORTRAITS IN MEZZOTINT ENGRAVINGS OF THE TRIUMVIRATE OF GREAT 'ENGLISH' SCULPTORS OF FLEMISH ORIGIN FROM VARIOUS SOURCES comprising: Grinling Gibbons (1648-1721), measuring a cast of the head of Berninis Daphne, by J. Smith, after Godfrey Kneller (34cm x 26cm), Trinity Fine Art, London, Dec. 1999, no. 33, Laurent Delvaux (1696-1778), by Alexander Vanhauken, after Isaac Whood, 1735 (36cm x 26cm), framed and glazed (53cmx 43cm), Michael Rysbrack (1694-1770), J. Faber after J. Vanderbank, 1734 (37cm x 27cm), framed and glazed (51cm x 42cm), (3) PROVENANCE: CHARLES AVERY COLLECTION Charles Avery is a specialist in European sculpture, particularly Italian, French, English, Flemish and Dutch. A graduate in Classics at Cambridge University, he obtained a Diploma in the History of Art at the Courtauld Institute and a doctorate for published work from Cambridge. Having been Deputy Keeper of Sculpture at the Victoria and Albert Museum for twelve years (1966-79), and a Director of Christies for ten years, since 1990 he has been a highly respected, independent historian, consultant, writer and lecturer. His books include Florentine Renaissance Sculpture, 1970, Giambologna the Complete Sculpture, Phaidon, 1987, Donatello: An Introduction, John Murray, 1994; Bernini, Genius of the Baroque, Thames and Hudson, 1997 (paperback, 2006), and The Triumph of Motion: Francesco Bertos, 2008.
Chiswick Auctions
soldApr. 22, 2015ATELIER DE LAURENT DELVAUX (1696 - 1778) Flore ou Le Printemps
Est: €2,000 - €3,000ATELIER DE LAURENT DELVAUX (1696 - 1778) Flore ou Le Printemps En terre cuite patinée ; portant une étiquette précisant qu'il pourrait s'agir d'une maquette préparatoire pour la statue du Parc Royal de Bruxelles H. : 83 cm (32 1/2 in.) A TERRACOTTA STATUE REPRESENTING FLORA OR THE SPRING, WORKSHOP OF LAURENT DELVAUX (1696 - 1778)
Artcurial
soldOct. 16, 2013FIGURE EN TERRE CUITE REPRESENTANT FLORE
Est: €2,000 - €3,000FIGURE EN TERRE CUITE REPRESENTANT FLORE D'APRES UN MODELE DE LAURENT DELVAUX (1696-1778), FLANDRES, FIN DU XIXEME SIECLE Reposant sur une base entièrement sculptée de forme carrée; portant une étiquette en papier à l'intérieur inscrite à l'encre noire Hauteur: 79 cm. (31 in.)
Christie's
soldApr. 20, 2012MATER DOLOROSA
Est: €4,000 - €6,000A FLEMISH, 18υTH CENTURY, MARBLE RELIEF OF MATER DOLOROSA, ATTRIBUTED TO LAURENT DELVAUX (1696-1778), IN A YELLOW VEINED SIENNA MARBLE FRAME, MONOGRAMMED H ON THE REVERSE AND INSCRIBED INDISTINCTLY IN PENCIL .... MARY ...1889... ON THE CHIMNEY PIECE monogrammé H au dos et inscrit indistinctement au crayon .... Mary ...1889... on the chimney piece relief en marbre blanc, dans un cadre en marbre jaune de Sienne Relief: 33 x 25 cm; cadre: 36,5 cm x 29 cm Relief: 13 by 9 3/4 cm; frame: 14 x 11 1/3 in. Flandres, XVIIIυe siècle, attribuée à Laurent Delvaux (1696-1778)
Sotheby's
soldJul. 08, 2011LAURENT DELVAUX (1696-1778), FLEMISH, 18TH CENTURY
Est: £5,000 - £7,000RELIEF WITH A BUST OF THE MATER DOLOROSA monogrammed: H.. on the reverse and inscribed indistinctly in pencil: ... Mary ... 1889 on the chimney piece marble, in a veined yellow marble frame relief: 33 by 25cm., 13 by 9 7/8 in. frame: 36.5 by 29cm., 14 3/8 by 11 3/8 in.
Sotheby's
soldJul. 09, 2009- Workshop of Pieter Scheemakers the Younger (1691-1781) and Laurent Delvaux (1696-1778) Flemish, 18th century , Diana sleeping white marble
Est: £10,000 - £15,000white marble
Sotheby's
soldMar. 03, 2009After Laurent Delvaux (Flemish, 1696-1778): A late 18th / early 19th century carved alabaster figure of a sleeping putto
Est: £500 - £700resting on a pillow and drapery upon a large cushion, carved with acanthus scrolling decoration, chips, 18cm wide
Bonhams
soldFeb. 23, 2009FIGURE REPRESENTANT HERCULE AU REPOS
Est: €60,000 - €80,000FIGURE REPRESENTANT HERCULE AU REPOS PAR LAURENT DELVAUX (1696-1778), MILIEU DU XVIIIEME SIECLE En marbre, représenté debout, la main droite derrière le dos, sa peau de lion autour des hanches, appuyé sur sa massue; sur une base carrée entièrement sculptée, signée au bas de la peau de lion 'DELVAUX.F'; très légers éclats Hauteur : 72 cm. (28 in.)
Christie's
soldDec. 02, 2008- Laurent Delvaux (1696-1778) Flemish, Nivelles, circa 1740-1770 , sleeping child white marble
Est: £6,000 - £8,000signed: L. Delvaux white marble
Sotheby's
soldApr. 24, 2008A MARBLE ALLEGORICAL FIGURE OF A SLEEPING PUTTO
Est: £4,000 - £6,000A MARBLE ALLEGORICAL FIGURE OF A SLEEPING PUTTO BY LAURENT DELVAUX (1696-1778), 18TH CENTURY Depicted sleeping on a bed of wheat sheaves and holding a sickle in his proper right hand; on an integrally carved naturalistic base signed to the edge 'L. Delvaux'; and a patinated plaster figure of a sleeping putto lying asleep on drapery 14 in. (35.6 cm.) long, the marble; 5 7/8 in. (15 cm.) long, the plaster (2)
Christie's
soldDec. 06, 2007A MARBLE ALLEGORICAL FIGURE OF A SLEEPING PUTTO
Est: £8,000 - £12,000A MARBLE ALLEGORICAL FIGURE OF A SLEEPING PUTTO BY LAURENT DELVAUX (1696-1778), 18TH CENTURY Depicted sleeping on a bed of wheat sheaves and holding a sickle in his proper right hand; on an integrally carved naturalistic base signed to the edge 'L. Delvaux'; And a patinated plaster figure of a sleeping putto lying asleep on drapery 14 in. (35.6 cm.) long, the marble; 5 7/8 in. (15 cm.) long, the plaster
Christie's
soldDec. 06, 2007A CARVED MARBLE FIGURE OF A FAUN PLAYING THE PAN PIPES
Est: £8,000 - £12,000A CARVED MARBLE FIGURE OF A FAUN PLAYING THE PAN PIPES BY LAURENT DELVAUX (1696-1778), CIRCA 1764 Depicted seated on a rocky outcrop and holding his pipes in both hands; on an integrally carved naturalistic base signed to the front 'L. Delvaux'; very minor chips and scratches 24½ in. (62 cm.) high
Christie'ssold
Jul. 05, 2007A CARVED MARBLE FIGURE OF FAUN PLAYING THE PAN PIPES
Est: £15,000 - £25,000A CARVED MARBLE FIGURE OF FAUN PLAYING THE PAN PIPES BY LAURENT DELVAUX (1696-1778), CIRCA 1764 Depicted seated on a rocky outcrop and holding his pipes in both hands; on an integrally carved naturalistic base signed to the front 'L. Delvaux'; very minor chips and scratches 24½ in. (62 cm.) high
Christie's
soldJan. 24, 2002AN ENGLISH MARBLE RECLINING FIGURE OF ARIADNE ATTRIBUTED TO LAURENT DELVAUX (SECOND QUARTER 18TH CENTURY)
Est: $12,000 - $18,000the nude figure with classically upswept hair, partially draped at the waist and resting on her head upon a tasseled pillow over another draped cushion and a larger chaise cushion, small chips and repair to left ankle Related Literature Alain Jacobs, Laurent Delvaux. Gand, 1696 - Nivelles, 1778, Paris, 1999, nos. S14-S16 Charles Avery, "Laurent Delvaux's Sculpture in England", in Studies in European Sculpture, London 1981, pp. 237-252, no. 11 R. Gunnis, Dictionary of British Sculptors. 1660-1851, Cambridge, 1954, p. 126 Laurent Delvaux (1696-1778) was born in the Low Countries and came to London in 1717. He joined Peter Scheemakers in creating a number of important works including the Apollo and Venus at Stowe and monuments including of Sir Thomas Grantham at Bicester, Oxon and Dr. H. Chamberlen in Westminster Abbey. The partners traveled to Rome together where Delvaux only stayed for two years. He left for Brussels where he was appointed sculptor to the Archduchess Marie Elizabeth of Austria. He visited England again only briefly in 1733 and then returned to the Continent. Among his major works may be included the statue of George I for Rolls Chapel in London and a statue of Hercules for Lord Castlemaine. There are several statues at Woburn Abbey and other marbles originally in notable private English collections. During the period of his partnership with Scheemakers, Delvaux produced several recumbent statues in marble of classical or mythological female figures. These figures were meant to adorn mantelpieces or sideboards for the English gentry, each with slight variations in pose or attributes. The type originates from the classical figure of sleeping Ariadne in the Vatican which was adopted by Giambologna in his bronze statuettes of a Sleeping Nymph. Compare a figure of Ariadne signed Delvaux in the Mellon Center, Yale University (Jacobs, no. S16, op.cit.) with nearly identical treatment of the torso, position of the body and carving of the head. The cushions
Sotheby's
soldJul. 05, 2001A CARVED MARBLE GROUP OF BIBLIS AND CAUNUS
Est: $28,200 - $42,300AFTER THE ANTIQUE, PROBABLY FLEMISH, 18TH CENTURY Set on an integrally carved circular base. Little finger on his right hand and large toe from his right foot lacking; minor chips. 42 1/2 in. (107.3 cm. ) high LITERATURE COMPARATIVE LITERATURE: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture, New Haven and London, 1981, no. 26, pp. 189-191. A. Jacobs, Laurent Delvaux - Gand, 1696 - Nivelles, 1778, Paris, 1999, nos. S41-43. NOTES This marble group, usually identified as representing the brother and sister Biblis and Caunus, recalls the antique marble group found in 1711 at Hadrian's Villa at Tivoli. Although probably originally intended to represent Cupid and Psyche, the marble was restored by Pierre II Le Gros with the male figure turning in rejection of his companion (Jacobs, op. cit., p. 255). The antique marble, which belonged to the Medici emissary Count Fede, was one of the most celebrated antiquities of the early 18th century, and was copied twice by Laurent Delvaux, among others. The present marble group, although differing in detail from the documented Delvaux examples, appears also to be of Flemish origin. Pierre-Fran‡ois Le Roy (1739-1812), who worked under Delvaux in the early 1760s, has been suggested as a possible author for the present lot.
Christie's
soldJul. 05, 2001A PAIR OF TERRACOTTA MODELLI OF ANGELS
Est: $28,200 - $42,300BY LAURENT DELVAUX (1696-1778), CIRCA 1760 Both inscribed at the rear "Laur. Delvaux", one is preceeded by the initials "X (?) P". With heads lowered and hands crossed, kneeling on stylised clouds with small busts of winged cherubs. Wear to surface; the wings lacking; some minor chips and losses. 15 1/2 in. (39.5 cm.) high, each (2) PROVENANCE Edmund Fi‚vet (Fi‚vet) collection, Nivelles. Alfred Fi‚vet-Bricourt (Williame) collection, Nivelles. LITERATURE A.Jacobs, Laurent Delvaux 1696-1778, Paris, 1999. NOTES These two terracottas are the modelli for larger marble versions sculpted by Delvaux for the Convent des Soeurs de L'Assumption, Bruges (Jacobs, op.cit., pls. S210 - S214). The modelli demonstrate how Delvaux drew influences from other and earlier sources, such as his pair of marble angels in the Chapelle du Saint-Sang du Prieure de Bois-Signeur-Isaac of 1752 (Jacobs, op. cit., pls.S160a and b). Here he adapted the sullen beauty of the marble angels and modified their pose from an upright bow to one where they kneel on stylised clouds decorated with winged cherub busts. He improved upon the complexity of the drapery forms in the earlier models and created a harmonious blend between the suppleness of the human form and the thick rich folds of the material. These terracottas emphasise the ethereal quality of the angels, but seen with their wings detached they adopt an almost human quality that is humble and adoring. In essence these stylistic elements are all part of the Baroque vocabulary that Delvaux adopted during his stay in Rome between 1728 and 1732 and improved upon in later times. The cherub busts on the base of each model fit within this vocabulary as a homage to Duquesnoy, which is a very prominent theme in much of Delvaux's oeuvre.
Christie's- Jul. 04, 2000
A CARVED MARBLE GROUP OF THE INFANT HERCULES
Est: $30,200 - $45,300CIRCLE OF LUCAS FAYDHERBE (1617-1697), CIRCA 1700-1730 WRESTLING WITH A SNAKE ON A BED WITH LION PAW FEET AND CADROONED DECORATION. MINOR CHIPS. 211/4 IN. (54 CM.) HIGH LITERATURE COMPARATIVE LITERATURE: J. Montagu, Alessandro Algardi, vol. II, New Haven and London, 1985, pp. 405-408, cat. no. 4, figs. 219 and 220. NOTES The present marble representing the infant Hercules wrestling with a snake derives ultimately from Alessandro Algardi's popular bronze model of the same subject (see J. Montagu, Alessandro Algardi, vol. II, New Haven and London, 1985, pp. 405-408, cat. no. 4, figs. 219 and 220.). The position of the two infants is virtually identical, although the boat-shaped bed on which Hercules is seated is more reminiscent of that of Laurent Delvaux's model, executed during his Roman period and derived from Ercole Ferrata (see A. Jacobs, Laurent Delvaux: Gand, 1696 - Nivelles, 1778, p. 264, cat. no. S54). It is possible that the artist of this piece knew both compositions, combining the well-known figure of the infant with a decorative base.
Christie's
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