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Little Red Riding Hood by Joseph Gott Marble

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Little Red Riding Hood by Joseph Gott Marble

- Item No.

The young girl in this white marble sculpture is easily recognized as Little Red Riding Hood

Key Features

  • The charming sculpture of Little Red Riding Hood was carved by British sculptor Joseph Gott
  • Gott was known for his unconventional works based on traditional subjects
  • Carved of pristine white marble, this figure exudes innocence and classial beauty

Item Details

  • Height:
    46 5/8 Inches
  • Origin:
  • Material:
  • Artist:
    Gott, Joseph
Joseph Gott
1786-1860 British

Little Red Riding Hood

White marble, set on a shallow white marble plinth
Signed "J. Gott, Ft."

Known for his unconventional, almost light-hearted, approach to his subjects, Joseph Gott offers his own interpretation of the character of Little Red Riding Hood in this magnificent marble statue. One of Gott's finest and most charming works, the intricately carved piece epitomizes his unpretentious nature and affinity for more directly human, accessible themes. Gott's vision of Riding Hood is the picture of purity and naturalness, seemingly captured just moments before her fateful lupine encounter. Dressed in classical costume, she is tinged with a slight sensuality, yet recalls age-old ideals and standards.

Originally from Leeds, England, Joseph Gott began to explore his art at an early age. He studied in London from 1798-1802, under celebrated sculptor and Wedgwood designer John Flaxman. He entered the Royal Academy Schools in 1805, winning a silver medal in 1806 and gold medals in 1807 and 1819. He went to Rome in about 1822, encouraged and sponsored by Sir Thomas Lawrence. Rome was to be Gott's base for the rest of his life, sending works home to be exhibited in the Royal Academy. Gott also exhibited at the British Institution and at the Paris Exhibition in 1855, and commissioned a number of monuments.

A contemporary of John Gibson and Richard James Wyatt, who were also based in Rome, Gott set himself apart from his fellow expatriate sculptors, avoiding high moral or obscure mythological themes and never developing a liking for sweet nymphs. Gott's work instead responded to the more open-minded patron who wanted sculptures that reflected an unaffectedness and genuine humanity. His work includes a variety of rustics and shepherds, animals - especially dogs - and many portrait busts and medallions, typically in Roman costume. Among his ideal figures, the most characteristic are girls, lightly draped, with Greek foreheads and noses, but their softer faces and chins putting them firmly in the early part of the 19th Century.

46 5/8" high

Artist's Museums:
Angers, France
Sir John Soane's Museum, London
New York Historical Society
Washington, D.C.
Leeds Art Gallery

Dictionary of British Sculptors: 1660-1851, 1961, Rupert Gunnis
Dictionnaire des Pientres, Sculpteurs, Dessinateurs et Graveurs, 1976, E. Bénézit
Painting by William Bouguereau

Collecting 19th Century Art

Collecting 19th Century Art
Chances are good that the wonderful landscape your parents bought 30 years ago to hang over the mantel wasn't purchased as an investment. Chances are even better that this same painting, if painted by a 19th-century artist of even reasonable note, has greatly increased in value.
Prior to the 1960s, late 19th-century artists like John William Godward, William Bouguereau and John Atkinson Grimshaw were, for the most part, names only the most studied 19th-century art scholars might recognize. It wasn't until these same scholars and museum curators began to truly recognize and appreciate these talents, along with scores of other great 19th-century painters, that the works hailing from this century really came into their own.
With that recognition has come a tremendous boon in the prices for quality 19th-century art. For instance, in 1977, the highest recorded price for a Bouguereau painting was $17,000. Just 23 years later, that same artist would achieve a hammer price of $3,526,000, placing him among a group of late 19th-century artists whose works regularly bring prices near or over the million-dollar mark.
Despite these incredible prices, much of the attraction of 19th-century art is that there are still so many extraordinary works out there to be had that won’t break the bank. Impressionist masterpieces or works by the Old Masters may be out of reach for most collectors, but those looking for superb paintings by respected artists of almost any genre won't be disappointed with the magnificent and diverse works created during the 19th century, particularly those painted in the latter half of the period. Like most worthwhile pursuits, success in building a fine 19th-century art collection comes with effort and diligence. Look at any great collection and it becomes evident that the key ingredients are love and understanding of the art.
Doing Your Homework
The best piece of advice is to do you homework. Almost every great collection of art resulted from a collaborative effort that began with careful research. Museums, galleries, auction houses, art publications and other collectors are all valuable sources of information. Develop relationships with good dealers and other experts who specialize in 19th-century art. Pick one or two areas of interest and study, using all of the tools available. Museums, galleries, auction houses, universities and the Internet can provide a wealth of both scholarly and subjective information, including insight into pricing and popularity of artists and their work. These efforts will not go unrewarded. Thorough research not only gives the collector a better grasp of the actual works, but it allows for the formulation of personal opinions and the refinement of individual taste.
Bill Rau, President and CEO of M.S. Rau Antiques, feels that by far, the most valuable piece of advice for those interested in art collecting, of any type, is to view similar works firsthand. "The more you expose yourself to the various artists of the period, the better you can recognize their quality and beauty," explains Rau. "The more exposure a collector has to the genre, the more acute their taste and eye will become. It is by studying the masterpieces in person that one can truly attain an appreciation and understanding of 19th-century art."
Value & Cost
Collecting 19th-century paintings involves an investment of both time and money. But keep in mind that financial gain should not be the motivation for collecting art. How much a collector can afford naturally affects the types of artwork collected, but today's art market lends itself to great flexibility in terms of price range. Do not become driven by the search for bargains which may lead to the acquisition of mediocre paintings. Art is not immune to fluctuations in the economy and over the long haul, it's  much better to own a finer quality painting that costs a bit more than to have a collection full of bargain basement finds. Core aspects such as artist, subject, paint quality, light and form and condition all effect the value of a painting and should be the foundation of any collection.
"Collecting art is a very personal endeavor," explains Rau. "Don't throw good business sense out of the window, but do choose your art using your head and your heart first and then your pocketbook. You'll be happier in the long run and you will have a much finer collection." Of course, that's the beauty of 19th-century paintings. Many of the finest works remain undervalued. For instance, while the price tag on a superior Alfred de Breanski landscape may not be inconsequential, the value of such a work by one of the most respected landscape painters of that period, remains incredible. Of course, the first step in finding value in 19th-century paintings is being able to recognize quality and that, again, boils down to research and diligence. While a painting must appeal on the most basic aesthetic level, there are a few considerations that must be addressed before any deals are struck. Once a painting has been selected-step back and look at condition, provenance and authenticity.
Condition & Quality
Whenever purchasing a piece of art, especially those created decades ago, it is important to keep a close eye out for retouches or damage caused by mishandling or unprofessional restoration techniques.
Of course, restoration work, if done properly, does not necessarily decrease the value of a fine painting, in fact, it is considered part of proper care and maintenance. However, collectors should be cautious of pieces that may have been drastically "overdone" due to outdated techniques practiced in the early part of the 20th century. These early restoration methods tended to be overly aggressive and are no longer considered acceptable. Issues such as these can be avoided with the advice of a professional restorer or art dealer. Don't be afraid to insist that a painting be checked out by a professional restorer prior to purchase.
The resurgence in interest of 19th-century art has also brought with it issues that any collector must address, most notably forgeries. Aggressive authentication is standard practice when seeking out the works of Van Gogh or Rembrandt, making it far more difficult to pass off forgeries.
However, the paintings of the 19th century present a much more enticing venue for those intent on deception. The best way to avoid these pitfalls is to work with a reputable dealer. Any good dealer, auction house or gallery should have no trouble providing the necessary information to authenticate or evaluate a 19th-century painting.
Be cautious if there is no signature on the painting, but not unduly so. An unsigned painting does not automatically signal a forgery or make a painting any less authentic. Often students copied the styles and techniques of the master artist and some masters even tried to imitate their contemporaries.
Once again, the failsafe key to avoiding confusion is research and a great understanding of the particular artist's style, subject matter and technique. The opportunities for collecting solid 19th-century paintings at reasonable prices remain abundant in today's market. A collector, armed with a certain degree of knowledge and even greater enthusiasm, can go a long way in assembling a collection worthy of the effort. If recent history is any indication, fine artworks from this century should continue to post healthy gains. And, while monetary appreciation can in no way be guaranteed, the potential for upward gains remains favorable.
"Art collecting is a serious and highly rewarding journey that should be taken in stride and with a degree of diligence. But along this sometimes bumpy road, keep in mind that the true nature of art is not so much about dollars and cents but more importantly its power to inspire, give joy, and motivate an appreciation for the world around you," Rau concludes. "And at the end of the day, a beautiful work of art can be enjoyed on a more personal level every single day whether the market happens to be up or down–you can't say that about too many stock certificates." Read More »

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