Bronze-caster (1822-1897)

« The Boules Game »

France
Circa 1870

Signed Détrier

Gilded and patinated bronze

Height : 35 cm (13,8 in.) ; Width: 38 cm (14,9 in.) ; Depth : 34 cm (13,4 in.)

Charming, intimate group in patinated bronze with golden highlights, depicting a genre scene that is fully in keeping with the 19th-century historicist style, which sought to recreate the elegance of the 18th century with nostalgia and precision. Two gentlemen dressed in mid-18th-century fashion, engaged in a game of boules, are seated around a game table, perfect example of miniaturized cabinetmaking, with its curved legs adorned with acanthus scrolls and asymmetrical shells typical of Rocaille art. The table’s apron is adorned with a frieze of godrons.

This bronze sculpture is a precious testament to the 19th-century fascination with the Siècle des Lumières, capturing the spirit of conversation, leisure, and elegance of that bygone era.

Biography

Pierre-Louis Détrier (1822–1897) was a bronze sculptor born in Vougécourt in Haute-Saône. A student of Guérard, he made his debut at the Salon in 1866 and received an honorable mention in 1885 for a marble group depicting La jeune mère (No. 3616). The Bulletin of the Historical and Archaeological Society of Langres wrote in 1890 that he “had made a name for himself among French sculptors” and highlighted his most notable works at the Salons des Champs-Élysées, including the aforementioned La jeune mère (1885), Le Nid (1889), and Grande Sœur (1890). He continued to exhibit there until 1896.

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« The rape of Proserpina »

France
Circa 1870

Patinated bronze

Bores and Orithya – Height: 100 cm (39,4 in.) ; Width : 43 cm (16,9 in.) ; Depth : 45 cm (17,7 in.)
Pluto and Proserpina – Height : 113 cm (44,5 in.) ; Width : 53 cm (20,8 in.) ; Depth : 41 cm (16,1 in.)
Bases – Height : 73 cm (28,7 in.) ; Width : 43 cm (16,9 in.) ; Depth : 41,5 cm (16,3 in.)

Provenance : Robin Chichester-Clark, Moyola Park, Castledawson.

Beautiful pair of patinated bronze sculptures depicting mythological scenes, resting on molded wooden bases painted white.

The first represents Boreas, the god of the north wind, recognizable by his large wings, abducting a young nude woman, Orithyia, whose body arches backward. Her arms are raised above her head, her hands open in a gesture of surprise or defense. Her face, turned outward, expresses fear and astonishment. The treatment of the bronze highlights the softness of her forms, contrasting with the muscular tension of Boreas. At the base of the composition, a third figur, often interpreted as a personification of the wind or a secondary spirit, partially supports the ensemble.

The second depicts the abduction of Proserpina by Pluto, god of the Underworld. Her body bends backward while her raised arms intensify the sense of resistance : her open hands seem either to push away an invisible force or to call for help. At the base of the group, a third female figure is kneeling or seated upon the rock. Seen from behind, she appears to be trying to hold back Proserpina or oppose the abduction. Her role is both narrative and structural : she stabilizes the composition while introducing a secondary viewpoint that encourages the viewer to move around the sculpture.

related works

These sculptures are inspired by the groups depicting mythological abductions that formed part of the “Grande Commande” of 1674, commissioned by the Direction des Bâtiments du Roi under Jean-Baptiste Colbert for the Water Parterre in the gardens of the Château de Versailles. The program was intended to celebrate the cosmic and political glory of Louis XIV through an iconography inspired by Apollo and the order of the universe, and included eight groups of mythological abductions conceived under the artistic direction of Charles Le Brun, who provided the preparatory drawings. However, the successive redesigns of the gardens prevented the original arrangement from being carried out, and the sculptures were ultimately dispersed throughout various groves and pathways of Versailles.

Marble by the sculptor Gaspard Marsy II, completed by Anselme Flamen, Louvre Museum, Paris (Inv. MR 1844)

Marble by the sculptor François Girardon (1628-1715), Versailles (Inv. MR 1865 / inv. 1850.9210)

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Bronze-caster (1805-1886)
(attributed to)

Pair of Tritons

France
Circa 1870

Gilded and patinated bronze, Griotte Marble

Height : 35 cm (13,7 in.) ; Width : 28 cm (11 in.) ; Depth : 16 cm (7 in.)

Pair of patinated bronze sculptures with gilded highlights depicting two juvenile tritons slightly turned inward, creating a visual dialogue.
These hybrid figures combine the torso of a child, evoking Cupid, with an ichthyomorphic lower part forming a coiled tail. This typology refers to the iconographic tradition of tritons, marine deities belonging to the retinue of Poseidon/Neptune in Greco-Roman mythology. However, the youthful and graceful treatment, far removed from the bearded triton of Antiquity, reflects instead a decorative reinterpretation from the modern period, in which the marine imagination is softened and integrated into an ornamental aesthetic. The tritons are shown holding or surrounded by stylized aquatic elements: shells, aquatic foliage, and broad-petaled flowers.
Each sculpture rests on a molded circular base in griotte marble, truncated at the rear, a material widely used in European decorative arts from the 17th to the 19th century, lending the whole a rich chromatic foundation and a sense of luxury.

Biography

Victor Paillard (1805-1886) was one of the most distinguished bronze casters in Paris during the second half of the 19^th Century. He was taught chasing by Jean-François Denière (1774-1866), then opened in the 1830’s his own workshop making “Art bronzes and Furnishing bronzes”, settled n°105, boulevard Beaumarchais in Paris. He executed first small objects, then cast statuettes, candelabra, clocks as well as impressive sized torcheres. He appeared to the public for the first time at the Industrial Products Exhibition of 1839 and worked for the greatest French sculptors, such as Pradier, Barye and Carrier-Belleuse. He exhibited extensively with great success being mentioned for the quality of his work at the famous 1851 and 1862 London Universal Exhibitions, and the 1855, 1867 and 1878 Universal Exhibitions then held in Paris. Paillard was there celebrated by everyone ; John Burney Waring ilustrates a gilt-bronze mirror by him in his “Masterpieces of Industrial Art and Sculpture, 1862 (Plate 92)”, which is a comprehensive record of the finest pieces on show in the London Exhibition. At that time, he was awarded a prize medal and the exceptional quality of his work was commented in all jury reports. Appointed a Chevalier of the Légion d’honneur by the French Government, Paillard employed since the 1850’s a hundred workers and proposed to his wealthy clients about four hundred models, cast in bronze not only after famous sculptors’ works, but also after his own creations. It is especially interesting that his “Cherub” figures, such as those ones presented here were particularly singled out for their charm and popularity by commentators at both the 1862 and 1867 Universal Exhibitions. Burney Waring noted that they portrayed the “happy and innocent moods of childhood”.

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Sculptor
(1865-1927)

« Giuditta »

Italy
Circa 1900

Signed Prof. E.Ceccarelli

Bear the seal « Galeria Artistica-Perù 134- S.C Reguan »

Patinated Bronze, Carrara Marble with Gilded Highlights

Height of the statue: 166 cm (65,35 in.); Width : 85 cm (33, 46); Depth : 57 cm (22,44 in.); Height with the base: 258 cm (101,5 in.);  

Great female statue of Judith in bronze with brown patina and white marble from Carrara. This young woman holds in her hands, stretched over his head, a scimitar in its scabbard, ready to draw it. The weapon is fitted with a hilt decorated by a stylized lion on the top of the sword guard, adorned with an Egyptian scarab with outstretched wings. The face, in white marble, with gentle characteristics and half-closed eyes looked down at the viewer, is topped with two braids meeting at the back of the head, the whole encircled by a headband adorned with golden piastres. The liberator, slightly swaying, is dressed in a loose-fitting bronze tunic and antique-style drapery, embellished with a belt adorned by a beetle with outstretched wings. The bottom of the tunic is decorated with stylized vegetal motifs, revealing her sandals.

The sculpture rests on a base of Verona red marble, the whole set on a fluted column of Florence serpentine with a rectangular top and molded circular base.

Although any male figure is associated with it to our knowledge, the theme of this symbolist sculpture is Judith and Holofernes. Indeed, Judith, a young widow of extraordinary beauty, wanting to save her city besieged by the Assyrian general, decides to behead him after having charmed and intoxicated him. The figure of Judith, which in our sculpture combines several stylistic elements from the Mediterranean basin such as an Egyptian scarab, an Ottoman scimitar, a Caucasian headband and a Greek-inspired tunic, is sculpted before the general’s death, in an attitude of contemplation. This evocation stimulates our imagination, inviting us to take a journey through civilizations.

Working mainly in marble, Ezio Ceccarelli also experimented into bronze and other materials, as in our sculpture “Giuditta” circa 1900 and this helmeted female head, circa 1905. This latter depicted half-closed eyes in an interiorized attitude, giving great delicacy and fullness to the idealized face, a principle also present in the Ecce Homo bust of 1899. 

This infatuation with polychrome sculptures and the mixing of materials can be linked to the research carried out in France by the sculptor Louis-Ernest Barrias (1841-1905), whose famous “La Nature se dévoilant” of 1899 is now in the Musée d’Orsay, in a bid to revive archaeological discoveries on the polychromy of ancient Greek sculptures, or to rival their chryselephantine sculpture in aesthetic terms.

Related works

Woman Bust, E. Ceccarelli, circa 1905, private collection

Biography

Ezio Ceccarelli (1865-1927), born in Montecatini Val di Cecina, was an Italian sculptor who has begun his apprenticeship at the Academy of Rivalta and Bortone in Florence, a city he particularly loved, later becoming a teacher himself at the Industrial Art School in Volterra. In addition to his teaching activities, he founded a sculpture studio in Florence, welcoming both students and collaborators. Thanks to this workshop and the resulting recognition, he took part in numerous competitions, including the statue of King Carlo Alberto in Rome, winning the first Curlendese prize in Bologna in 1899 and, above all, the gold medal for his statue Ecce Homo in the Gregorian competition in Rome. His virtuosity and renown spread far and wide, thanks to his participation in numerous international competitions, including those in Liège, Copenhagen and Athens. He represented Italy at the Exposition Universelle in Paris, an experience he repeated in 1904.

Building on this success, he sculpted or designed several civil sculptures for Italian cities, including a Garibaldi for Massa in 1905, a Carlo Montanari for Verona and a Christopher Columbus for La Plata in South America.

Museography

In December 2004, the exhibition “Two sculptors and a monument” was held at Massa’s Palazzo Ducale, dedicated to the restoration of Massa’s monument to Garibaldi, modeled by Ezio Ceccarelli and executed in 1906 by Fernando Tombesi in Massa’s famous Cuturi workshop. 

In addition to his public statues, a sculpture entitled “The Angel of Death” is kept at the Uffizi Gallery.

Bibliography

A.Panzetta, Dizionari Degli Scultori Italiani Dell’Ottocentento, Torino, ed. Umberto Allemandi, 1994.

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Signed on the base Prof. G. Ca…?

Italian School
Circa 1900

Alabaster, Marble

Height : 30 cm (11,8 in.) ; Width : 25 cm (9,8 in.) ; Depth : 17 cm (6,7 in.)

Charming illuminating alabaster sculpture representing a young naked woman leaning on rocks, and seated at the edge of a source concealing a light, collecting the water with a shell. She rests on a rectangular base of concave shape in brown marble.

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Sculptor (1829-1905)
(attributed to)

The Japanese and the Oriental women

France
Circa 1900

Metal

Height : 171 cm (67,3 in.) ; Width : 93 cm (36,6 in.) ; Depth : 8 cm (3,1 in.)

Important pair of metal with double patina plaques representing an Oriental woman and a Japanese woman, both dressed in traditional outfits, during the tea ceremony. Each is presented in a black and gold painted wooden frame.

Biography

Louis Hottot (1829-1905) is a French sculptor. In 1885, he participated for the first time in the prestigious Salon des Artistes Français and exhibited at the Salon every year until 1898. Oriental scenes and characters are his favorite subjects.

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Sculptor
(1827-1905)

F. Barbedienne

Fondeur
(1810-1892)

« Florentine Singer »

Signed P. Dubois 1865 and F. Barbedienne fondeur
Stamped with réduction mécanique Collas

France
Circa 1880

Height : 93 cm (36,6 in.) ; Width : 39 cm (15,4 in.) ; Depth : 27 cm (10,6 in.)

A patinated bronze « Florentine Singer » sculpture, inspired by the Italian journey of Dubois and the historicist taste. The plaster model was exhibited at the Parisian Salon in 1865, and won the Honor Medal.

The first bronze cast was purchased by Princess Mathilde. It was then added to the famous bronze-caster Barbedienne’s catalogue and edited from 1865 to 1953 in six heights – 39cm to 115cm- thanks to the Collas mechanical reduction system.

Biographies

Paul Dubois (1827-1905) entered the Paris Beaux-Arts School in 1858. He exhibited at the 1865 Salon the Chanteur Florentin, illustrating Florentine sculpture, observed after his journey in Italy. This work, cast that time in silvered bronze, was exhibited at the 1867 Paris Universal Exhibition (now preserved at the Orsay museum). Dubois’ success brought him many commissions, both private (Portrait of Duc d’Aumale) and public (Jeanne d’Arc, in Reims). Appointed curator at the Luxembourg museum in 1873, Dubois became also a member of the Institute and finally headmaster at the Beaux-Arts School in 1878.

Born in 1810, Ferdinand Barbedienne started at n°30 boulevard Poissonnière in Paris one of the most famous 19th century artistic bronze casting companies. He died in 1892. In addition to his personal production, he worked for famous old times artists or contemporary sculptors such as Auguste Clésinger, Albert-Ernest Carrier-Belleuse and Louis Barrias. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoleon, located avenue Montaigne in Paris. Barbedienne’s production was always highly esteemed and he was, himself admired by contemporary art critics who compared him during the 1878 Universal Exhibition to a « prince of industry and the king of bronze-casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes.

Bibliography

P. Kjellberg, Les bronzes du XIX^e siècle. Dictionnaire des sculpteurs, éd. Amateur, Paris, 1989.

F. Rionnet, Les bronzes Barbedienne. L’œuvre d’une dynastie de fondeurs, Paris, Arthena, 2016.

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Sculptor
(1841-1907)
French School

Bust of a young woman from north Africa

Signed E’le. Guillemin

France
Circa 1875

Overall height : 62 cm (24,4 in) ; Width : 41 cm (16,1 in) ; Depth : 24 cm (9,5 in)

Very fine bust of a woman from North Africa, made of patinated and polychrome bronze with orange-red tones. Her hair is tied, she wears head ornaments, a traditional costume and oriental jewellery, including a necklace featuring medallions inscribed with Arabic characters and crescents. Antique red marble base.

Orientalism

The taste for exoticism and ‘turqueries’ already existed in Europe in the 17th century. At the turn of the 19th century, the Campaign in Egypt led by Bonaparte inspired the French artists with a taste for the Orient, its beauty and light, and responded as well to the quest for foreign and the fascination for mystery. Nevertheless, Orientalism did not become an artistic movement named as such before 1830 when the catch of Algiers took place.

Benefiting from the development of means of transport, artists travelled to areas which were still little known at the time such as Maghreb countries and Persia. Artists such as Decamps, Fromentin, Delacroix or Gérôme developed new themes, sometimes in the romanticism manner, sometimes with a documentary and naturalist approach : despotism of the tyran, sensuality of the harem, picturesque street scenes, richness of the landscapes.

By the end of the Second Empire, Academicism turned towards modernity and obscured the Orientalist taste during a few years. However, the Orientalist Movement knew a resurgence with the creation of the Society of Orientalist Painters and the Universal Exhibitions of 1855 and 1867.

E. Guillemin was a part of this second generation of orientalist painters. He was passionate about the exotic genre, and offered a range of dimensions for his works including some colossal sculptures. He created biblical heroes, conquistadors, and above all: very lively Oriental figures. Like Charles Cordier (1827-1905), he brought together colors and materials in an innovative way: polychromy of marbles and bronzes, associations of enamels and stones with silver or copper… This greatly favored collaborations between sculptors and art casters, such as the one between Guillemin and Barbedienne for the Indian and Oriental women-like torchères.

Biography

A leading Parisian sculptor of the period, Emile Guillemin (1841-1907) trained with his father Emile-Marie-Auguste Guillemin, then with the sculptor Jean-Jules Salmson. He began his career at the 1870 Salon of French Artists, with two plasters presenting two Roman gladiators, that will be made in bronze and later acquired by the State for Saint-Germain-en-Laye Castle. His growing reputation allowed him collaborating with prestigious luxury firms such as Barbedienne and Christofle. He continued exhibiting at the Salon until the end of the years 1890. He notably presented a series of bronze busts of oriental women similar to the one we offer for sale. Around the time he created these busts, E.Guillemin travelled in North Africa and around the Mediterranean Basin, aiming to list the anthropological characters of the different local cultures. The excellence of E.Guillemin shines through these sculptures, enhanced by a remarkable chiseling quality and the realism of the subjects.

Museology

– Museum of Fine Arts, Montréal (Canada) : sculpted group depicting Eliézer and Rébecca.

– Orsay Museum, Paris : Bas d’armoire by Diehl, mounted with gilt bronze panels by Guillemin (Inv. O.A.O. 992), Exposition Universelle de Paris, 1867.

– Saint-Germain-en-Laye Castle : Two Roman Gladiators: Rétiaire and Mirmillon (bronzes after the plaster models exhibited at the Salon in 1870).

Bibliography

Orsay Museum Archives.

L’univers des bronzes, Yves Devaux, Ed. Pygmalion, Paris, 1978.

Les bronzes du XIXe siècle, P. Kjellberg, Les Ed. de l’amateur, 1989, p. 369-370.

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Numbered on its backside 359/576

France
Circa 1880

Terracotta

Height : 115 cm (45,3 in.) ; Width of the base : 37 x 30 cm (14,5 x 11,8 in.)

Large sculpture made in patinated terracotta, with a servant girl filling her jug at the fountain, which is decorated in the lower part of a lion’s head (from which flows water), topped with a grooved and truncated column, on which is wound a five light-flowers plant.

The terracotta pieces almost always bear a model number, and occasionally the edition number or how many pieces were edited, indicating then the importance of production, in this case made in a limited edition.
Originally, the signature of the sculptor never appeared in editions of terracotta. This claim of artists to see their name beside the publisher’s one didn’t appear until the late nineteenth century.

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Bronze-caster
(1840-1897)
(attributed to)

“African Venus”

France
Circa 1878

Height : 168 cm (66 in.) ; Width : 54 cm (21,2 in.) ; Depth : 35 cm (13,78 in.)

A similar model mounted as a floor lamp was exposed by Charles de Marnyhac at the Paris Universal Exhibition of 1878.
(Reproduced in “L’Art et L’Industrie de tous les peuples à l’Exposition Universelle de 1878”, Librairie Illustrée, Paris)
A similar work is now presented at the Shangri-La hotel, in Paris, on Iena avenue.

An exceptional life-size two patina bronze figure, representing a young African woman taming a snake, dressed with a feathered loincloth and a long drape in her hair, and wearing African jewels.

Biography

Marnyhac et C^ie was used as the commercial name for the Société des Marbres et Bronzes Artistiques de Paris (the Paris Marbles and Artistic Bronzes Society) which was established since the middle of 19^th century in Paris, on the Opera avenue and then at N.1, rue de la Paix. Managed by Charles de Marnyhac (1840-1897), the bronze-foundry company specialized production of luxurious pieces as well as casts from models made by the greatest sculptors of the time, such as Jean-Baptiste Clésinger (1814-1883), Amédée Charron (1847-1937) and Eugène Despléchin (1852-1926). The Marnyhac firm was awarded a medal at the 1878 Universal Exhibition, and showed again their works at the Paris Universal Exhibition of 1900. The company closed down around 1910.

Bibliography

Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p°241.

L’Art et L’Industrie de tous les peuples à l’Exposition Universelle de 1878, Librairie Illustrée, Paris.

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Sculptor-ornemanist
(1827-1899)

G. Viot et Cie

Compagnie des marbres Onyx d’Algérie
(Active from 2nd part of 19th century)

Neo-Greek Bust

Signed Machauld et Eug. Cornu – G. Viot et Cie Fondeurs

France
Circa 1867

Height : 64 cm (25 in.) ; Base : 22 x 21 cm (8,6 x 8,2 in.)

Beautiful neo-Greek bust in silvered bronze and gilt bronze enhanced with polychrome enamels on a red marble baluster-shape base. It shows a woman draped in the Ancient style adorned with rich jewellery.

The splendour of the bust is due to the association of different materials and techniques. The silvered bronze flesh with oxidised reflections, mounted with polychrome enamel jewellery, and the gilt bronze ribbons and drapery illustrate the conjunction of materials often made by artists in the 19^th century.

This bust illustrates the neo-Greek style developed in France in the 19th century. Inspired from the Greek Antiquity, this style used Ancient features to create new artworks by re-interpreting Ancient inspirations with modern taste.

The Ancient inspiration can first be seen with the drapery on her chest, which reminds the drapery of Greek statues. Moreover the jewellery she wears include an Ancient motif : the lion face on the brooch reminds the one which can be seen on antique jewels, and her necklace, diadem and ribbons are adorned with Ancient Greek features such as friezes and palms.

Stand of the Société des Marbres et Onyx d’Algérie, 1878 Universal Exhibition,

(reproduced in Les Merveilles de l’Exposition de 1878, p. 561).

Biographies

Eugène Cornu (1827-1875) : this sculptor first worked as a designer and then director for the renowned company Tahan. He then worked closely with the “Compagnie des Marbres Onyx d’Algérie”, led by Gustave Viot, successor of Alphonse Pallu. They produced luxurious furniture and art objects, incorporating onyx marble and bronze, with sometimes enamel, a combination then considered as a novelty and become quickly highly prized among wealthy collectors. They both showed at the 1867 Universal Exhibition held in Paris a fine pair of onyx, bronze and enamel vases for which Cornu and Viot won the Gold Medal. Around 1873, Eugène Cornu became director of the Company, which took then the name of “Société des Onyx d’Algérie E. Cornu et C^ie”.

Paul-François Machauld (born in 1835) : he was taught by the sculptor Pierre-Charles Simart (1806-1857), who made the tombstone of Napoleon I, and whom himself had as masters Jean-Auguste-Dominique Ingres (1780-1867) and James Pradier (1790-1852). P.-F. Machauld then started his career as a sculptor at the 1864 Salon.

Société G. Viot et Cie (in activity since 1865) : set up about 1850 Boulevard des Italiens in Paris, this firm was also named “Compagnie des Marbres Onyx d’Algérie” and exploited onyx mines near Oran. The firm specialized in luxuous furniture and art objects, incorporating onyx marbles and bronze. The firm G. Viot & C^ie produced works after models created by the most well-known sculptors, such Albert Carrier-Belleuse (1824-1887), Charles Cordier (1827-1905), Louis-Ernest Barrias (1841-1905) or Eugène Cornu, which awarded Viot medals at the various exhibitions. E. Cornu then led the firm before H. Journet, who gave it his name in 1878 and headed it.

Literature

– Rapport du Jury International, Exposition Universelle de 1867 à Paris, 1868, t. III, group III, class XV, chapter II, §2, p. 45-46.

– 1851-1900, Le arti decorative alle grandi esposizioni universali, Daniel Alcouffe, Marc Bascou, Anne Dion-Tenenbaum and Philippe Thiébaut, Idealibri, 1988, p. 136-138.

– Les merveilles de l’Exposition de 1878, Paris, p. 561.

Museology

– Bust of George Washington in marble and onyx marble, by E. Cornu, preserved at the De Young Museum, San Francisco (Inv. 49440a-b).

– Oriental style cup in onyx marble with enamelled gilt bronze mounts, by the Compagnie des Marbres Onyx d’Algérie and F. Barbedienne, preserved at Compiègne Palace (Inv. C 71-122).

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