Bust of a Classical Woman (1872) | Thomas Ridgeway Gould

THOMAS RIDGEWAY GOULD
United States, 1818-1881

Bust of a Classical Woman (1872)

Carved Carrara marble | signed to the reverse "T.R. GOULD fecit / FLORENCE / 1872"

Item # 407NXP09P  An exceedingly rare example of Gould's work, this bust of a classical woman is intentionally made timeless by the use of a classical Greek toga for her garment. While the sitter is unknown, her tangible features leaves you as the viewer with a very real sense of encounter. Far from being a vanity bust, Gould captures her as she is; her powerful gaze and well of energy juxtapose the slight slackening of skin, the subtle sag to her jawline giving hint to a lurking double chin. Her features are firm but not severe, showing resolve and determination while revealing some personality.

The present example was completed while Gould managed his atelier in Florence from 1868 through 1878. It is signed in his typical script to the reverse. THOMAS RIDGEWAY GOULD
Born in Boston, Massachusetts on November 5th of 1818, Thomas Ridgeway Gould was initially engaged in his family's dry-goods business together with his brother. He had a passion for sculpture and began studying the art under Seth Cheney in 1851. This sideline hobby became his vocation when he was ruined financially during the downturn of business he suffered during the Civil War, which fortuitously forced him to turn his full attentions on his art as a portraitist. His first exhibit was at the Boston Athenaeum in 1864 where he showed two religious works: Christ and Satan; two romantic works: Good and Evil; and several portraits. It was no simple feat at 40 years of age with a family relying on him, but he was remarkably adept in portraiture and was a keen observer of the subtle elements that most completely capture the essence of his sitters. His brilliant depictions of Christ and Satan were each conceived as individual stand-alone works despite being so often discussed as a contrasting pair. His piercing insight and subtlety in Satan is so completely understated that it is without doubt one of his finest accomplishments.

As Gould had no formal education and never attended an Academy on either side of the Atlantic, he rooted his work in Antiquity and drew inspiration from Greek and Roman models while embuing each with an entirely unique and modern ideal. While this drew him criticism from the Academic circles, his work stands apart as fresh and spirited.

Seeking to enhance his skills and access superior materials, Gould moved his atelier and his family to Florence in 1868, joining a large community of American and English expatriates working their craft there. He spent ten years in Italy before returning to the United States.

One of his most widely recognized sculptures is "The West Wind" of 1870, a brilliant model that won acclaim for its fluidity and sense of movement, capturing the essence of natural forces with poetic expression that speaks softly through the unyielding cold marble. It was perhaps his most controversial sculpture, as he was accused of plagiarising Antonio Canova's "Hebe". The negative attention ultimately proved rather positive for his business when the matter was decided in his favor and the sculpture became one of his most cherished creations.
Measurements: 20 1/2" H x 10" D x 19" W Condition Report:
Professionally cleaned and conserved; trace discoloration and staining throughout the garment and to the reverse of the socle; light chipping to edges in a few areas; a few scratches to the marble in several areas on the garment and in a few areas throughout; an overall matte texture to the surface; lacking a plinth (one can be fabricated on request); a very fine presentation.