David Martin "Portrait of Benjamin Franklin" oil
1867. Inscribed on reverse of base with artist's monogram, "WWS". 76"H x 25"W x 28"D. PROVENANCE: Edward Matthews, New York, 1872. Collection of Eugene Leone, New York. Spanierman Gallery, New York. Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1998). LITERATURE: Samuel Osgood, "American Artists in Italy," Harper's New Monthly Magazine, August, 1870: vol. 41, pp. 420-25. O.W. LwV., "Art Treasures of New York," Fine Arts, July, 1872: vol. 1, no. 5, p. 85. Mary E. Phillips, "Reminiscences of William Wetmore Story " Chicago and New York: Rand McNally & Company, 1897, p. 153. William H. Gerdts, "William Wetmore Story," The American Art Journal, November, 1972: vol. 4, no. 2, pp. 16-33. NOTE: Carved from Carrara marble the artist himself described as, "magnificent, and promises to be among the finest blocks I have ever done." "Dalilah," follows in the tradition of the artist's keen interest in the character of some of history's most formidable women including: Cleopatra, The Libyan Sibyl, Judith, Alcestis, and Medea. In the present example, he has found perhaps one of the more complex biblical or mythological "femme fatales." He has chosen to present her in the moment directly after she has committed her dark act as described in Judges 16:19, "she called for someone to shave off the seven braids of his hair, and so began to subdue him. And his strength left him." Her downward gaze and loose grip on both the drape around her waist and money bag as so well described by an unidentified Rome newspaper praised the conflicted mood of the sculpture thusly, "In his happiest mood he [Story] has seized the moment when the Siren is commencing to feel the Nemesis which has her in its grasp forever. Deep gloom is seated upon that brow, the heir of a deed of black treachery committed upon her sleeping husband, and there it will sit for all time. The sun in heaven has no brightness for her, and happiness has sighed farewell." And while there is some note of despondency in her gaze, another nineteenth century critic viewed the piece in this light, "The sculptor has seized the moment when, [Dalilah's] treacherous purpose accomplished, she has arisen from the couch and stands erect in the proud triumph of success. The attitude is grandly majestic: with one hand she is clasping the flowing drapery around her waste [sic], while the other holds the purse with the golden pieces… A wide band encircles her head, confining the long tresses of her hair. Just at her feet are the seven locks shaven from Samson's head." We can see that Story has been entirely successful in allowing the viewer to comprehend the complexity of Dalilah's character that made her such an alluring subject matter. The only other version of this work is located in the collection of The Fine Arts Museum of San Francisco. William Wetmore Story (American, 1819-1895). Please note: We will not be accepting bids on this lot via internet bidding. Please contact the gallery to register for bidding.
David Martin "Portrait of Benjamin Franklin" oil
1867. Inscribed on reverse of base with artist's monogram, "WWS". 76"H x 25"W x 28"D. PROVENANCE: Edward Matthews, New York, 1872. Collection of Eugene Leone, New York. Spanierman Gallery, New York. Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1998). LITERATURE: Samuel Osgood, "American Artists in Italy," Harper's New Monthly Magazine, August, 1870: vol. 41, pp. 420-25. O.W. LwV., "Art Treasures of New York," Fine Arts, July, 1872: vol. 1, no. 5, p. 85. Mary E. Phillips, "Reminiscences of William Wetmore Story " Chicago and New York: Rand McNally & Company, 1897, p. 153. William H. Gerdts, "William Wetmore Story," The American Art Journal, November, 1972: vol. 4, no. 2, pp. 16-33. NOTE: Carved from Carrara marble the artist himself described as, "magnificent, and promises to be among the finest blocks I have ever done." "Dalilah," follows in the tradition of the artist's keen interest in the character of some of history's most formidable women including: Cleopatra, The Libyan Sibyl, Judith, Alcestis, and Medea. In the present example, he has found perhaps one of the more complex biblical or mythological "femme fatales." He has chosen to present her in the moment directly after she has committed her dark act as described in Judges 16:19, "she called for someone to shave off the seven braids of his hair, and so began to subdue him. And his strength left him." Her downward gaze and loose grip on both the drape around her waist and money bag as so well described by an unidentified Rome newspaper praised the conflicted mood of the sculpture thusly, "In his happiest mood he [Story] has seized the moment when the Siren is commencing to feel the Nemesis which has her in its grasp forever. Deep gloom is seated upon that brow, the heir of a deed of black treachery committed upon her sleeping husband, and there it will sit for all time. The sun in heaven has no brightness for her, and happiness has sighed farewell." And while there is some note of despondency in her gaze, another nineteenth century critic viewed the piece in this light, "The sculptor has seized the moment when, [Dalilah's] treacherous purpose accomplished, she has arisen from the couch and stands erect in the proud triumph of success. The attitude is grandly majestic: with one hand she is clasping the flowing drapery around her waste [sic], while the other holds the purse with the golden pieces… A wide band encircles her head, confining the long tresses of her hair. Just at her feet are the seven locks shaven from Samson's head." We can see that Story has been entirely successful in allowing the viewer to comprehend the complexity of Dalilah's character that made her such an alluring subject matter. The only other version of this work is located in the collection of The Fine Arts Museum of San Francisco. William Wetmore Story (American, 1819-1895). Please note: We will not be accepting bids on this lot via internet bidding. Please contact the gallery to register for bidding.
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