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Lot 4

Attributed to Willem van den Broeck, called Guglielmus Paludanus, Italo-Flemish (c. 1520-1579), third quarter 16th century
An important circular bronze incuse-cast plaque of a running stag

Sculpture
15 April 2008, 14:00 BST
London, New Bond Street

Sold for £5,400 inc. premium

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Attributed to Willem van den Broeck, called Guglielmus Paludanus, Italo-Flemish (c. 1520-1579), third quarter 16th century
An important circular bronze incuse-cast plaque of a running stag

the stag leaping over a torrent running through an arid landscape, with a strapwork cartouche inscribed: COM’IO SO[N] CERVO NEL [MONDO] ANIMOSO / FATEVI CVSSI SERVO DE IDIO GLORIOSO / AN[N]O 1563[?].
 17cm. diam (6.5" diam.) (pierced above the antlers for suspension, small tear to edge of metal)

Footnotes

Comparative Literature:

The Italian inscription may be translated as follows: “Just as I am a courageous stag in the world, so make yourself a servant of glorious god”. This may well be a quotation from an Italian religious writer of the late Middle Ages or Renaissance, but the imagery also matches well with the opening verse of Psalm 42 (Sicut cervus…):
“As the hart panteth after the water brooks, so panteth my soul after thee, O God”.

Though slightly larger in diameter, this delightful composition matches closely in subject, style and facture another one, depicting a horse leaping over a globe in an open landscape, signed in Latin by Paludanus that is in the Victoria & Albert Museum (A.18-1973). Indeed as the animals face one another, the plaques would make a near pair. When viewed from behind, the similarity in the unusual technique of incuse casting is remarkable and helps to corroborate their mutual authorship and date.

The stag corresponds well with a pair of similar animals in the middle ground, on the right, of a white-stone relief of The Earthly Paradise (Musées Royaux des Beaux-Arts, Brussels), which may have come from the mantelpiece of the sculptor’s own house and is datable around 1567.

The horse on the other plaque may be compared with one in a relief of the Crucifixion by Paludanus now in the Maximiliansmuseum, Augsburg, which bears his initials and the date 1560. Thus, the plaques correspond well in date too. They mark an interesting extension to the sculptor’s work into the complex field of bronze casting.

Born in Malines, Paludanus matriculated in the sculptors’ guild at Antwerp in 1557 and was granted citizenship two years later. His earliest known signed work is a small marble group of Venus and Cupid dated in 1559. He was involved at this period with Cornelis Floris on the sculpture for the new Town Hall of Antwerp, working particularly on the gables, and shared his Italianate style. Within his own lifetime, Paludanus was praised as “Princeps … inter statuarios” and described by Guicciardini as “studioso e diligente”.

Additional information

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